Double Decker Pastry

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Double Decker Pastry

i want to introduce to you the new vikingfrench-door oven. now the beauty of this is... this one is in demo mode right here. do yousee the nice blue lights around the knobs? we call these coollit, but what i want toshow you is what happens when you actually put it in a mode. we're going to turn it tobake and we're going to turn it to a temperature. i want you to notice this knob in a second.it's going to start to pulse and it will pulse that blue until it gets to the proper temperatureand then it will go solid. i want you to notice also the beautiful viking blue display here.i want you to notice the letters and the graphics. they're all laser-etched. it will not comeoff. now in this particular case, this is a french-door oven. it's got two handles,but do you need two hands to do it? if say

i had something in my right hand and i wantedto open the door, you could take then grab the left handle and both doors open simultaneously.they will both close simultaneously. now i want you to notice this oven. viking ovensare the largest in the industry, period. you might say, "well, other manufacturers saidthere's is bigger." i tell you what you do. you take this viking rack out and you takeit and try to put it in a competitive oven. it won't fit. absolutely won't fit. you taketheir rack and put it in ours; it'll fit. but this won't fit anyone else's. this isthe largest oven in the industry, period. the second thing is the largest fan in theindustry. it's eight and a half inches. it's probably twice the size of anything in theindustry. it's two speed; it's two directions.

two speed is very important. chefs like that.they like a slower speed for baking. they like a faster speed for roasting. what aboutthe reversing? what's the benefit there? say you need a turkey. you're cooking a turkey.you get to the store late and the last one there is one ugly bird. it's arm is stickingout like this, but you have to have it. what if you take that turkey and put it into theoven? now here's the pattern in the oven. the air is going down the right side and theair is coming in on the left side. so this wing that's sticking out is constantly gettinghit with hot air. what's going to happen to this? that's right, it's going to be overdoneand maybe burned. what about behind the wing? it's going to be undercooked. so, what doyou do to get the back of the wing cooked?

you have to turn the bird except if you havea viking oven. it will reverse the fan. what happens... depending on what you select, itwill go automatically go forty-five to sixty seconds down the right side of the oven. thenthe fan will reverse and it will automatically go forty-five to sixty seconds down the leftside of the oven, eliminating hot and cold spots. down here at the bottom, you will alsosee the bottom element embossed. this is a ten-pass element, but there are two elements.as one comes on, the other goes off. the one goes off, the other comes on and that's whatmaintains the even cooking down at the bottom. but the third thing is that it helps in cleanup.because with this embossing, it will contain the spills and make it easier to clean up.also you notice this section right here. this

is allows this oven to be serviced from thefront instead of having to be pulled out from the wall. now the upper oven is not self-clean.the bottom oven is self-clean. viking also has the longest, strongest warranty in theindustry. we have three years, signature, parts and labor warranty on the product. wealso have a no-quibble policy which states in the first 90 days that you purchase a vikingproduct in the unlikely event a manufacturer defect happens, we will repair or replaceit.

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Do Away With Dry BBQ In One Surefire Move

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Do Away With Dry BBQ In One Surefire Move

♪ love and happiness ♪ ♪ yeah ♪ ♪ something that canmake you do wrong ♪ ♪ make you do right ♪ ♪ ay-hee ♪ ♪ love ♪ [mid-tempo r&b beat] ♪ wait a minute ♪ ♪ somethin' going wrong ♪

♪ someone's on the phone ♪ ♪ 3:00 in the mornin' ♪ ♪ talking 'bout ♪ ♪ how she canmake it right ♪ swish! that's horse. nuh-uh. uh-huh. you can'tmake that.

watch me. uh! [both laughing] you guys are too easy. just wait till iget big like kareem. you wannabe like kareem? man, all his big butt dois stand by the basket. shoot. i be blockingyour stuff. yeah, right.

hey, look. q. i thought you said only girlswere moving in. that's what my mom said. hope he can ball. bet he's a scrublike kelvin. shut up. hey. can i play?

no. unh! you nice? yeah, i'm nice. all right. you and kelvinagainst me and jamal. kelvin:oh, man! jamal:he is a girl! man, girlscan't play no ball.

ball betterthan you. [all snickering] what a dog. she heard you. nuh-uh. she can onlyhear dog whistles. [whistling] check. kelvin: damn! she dogged you, man.

shut up! one-zip. lucky. ♪ candy girl ♪ ♪ my girl's like candy ♪ ♪ a candy treat ♪ ♪ she knocks me highup off my feet ♪ ♪ she's so fineas can be ♪ ♪ i know this girlis meant for me ♪

♪ you are my world ♪ ♪ you look so sweet ♪ ♪ you're a special treat ♪ ♪ all i want to say ♪ ♪ when you're with me ♪ ♪ you brighten up my day ♪ [swish] damn! ♪ all i know ♪

♪ when i'm with you ♪ ♪ you make mefeel so good ♪ ♪ through and through ♪ ♪ the way you walk ♪ yo, i got her. told you i was nice. i'm gonna be the first girlin the n.b.a. no, i'm gonna bein the n.b.a. you gonna bemy cheerleader.

♪ i need your love ♪ ♪ each and every day ♪ ♪ i need it, need it... ♪ woman: oh, god. eww. be quiet. man: hey. how you feeling,munchkin? eh, you tough.

she needs to stoprunning around like a little boy. no, she'sall right. how is sheall right lookin' the wayshe does? camille... she'll be fine. let me go find yousome gauze. ♪ i want you ♪

♪ and you want me ♪ ♪ so why don't we... ♪ heh heh heh. girl, who youtrying to fool? alley-oop, dad. boy. new neighbors. man: really? mmm...

see, quincy. this is how yourmoms caught me. with the oldfake and bake. had me thinkingi was catching a sisterwho could burn. i can't do this shit. boy, what did i tell youabout using that word? "can't" should never bein a man's vocabulary. and why not?

'cause whenyou say can't, you ain't a man. that's right. zeke. what? oh, yeah. don't say shit. come on. we shouldhead on over. uh, just you andquincy, baby.

i gota meeting. with who? somebusiness folks. zeke, you just got backfrom a 4-game road trip. nona, please don'tstart bitchin'. i got maybe2 years left to play. i'm trying to putsome things together for us. see you later, man. be good, eh?

i love you. i love you, dad. camille: so how longhave y'all been here? well, we moved back herewhen quince was about 5 after zeke wastraded again. and the neighborhoodwas a little more mixed back then. well,that was before the black peopledown the street

became the blackpeople next door. ok? heh. yes. um, thank youso much again. this was terriblynice of you, nona. oh, girl. don'tworry about it. it's the leasti could do... and i loveto cook.

you do? i cook for allmy friends' parties and thingsback in atlanta. oh, you're a caterer? well, no. once nathan getssettled in, though, and the girls'a little older, that'scertainly something mom wouldlike to try.

girl, do you know, as long as i havelived next door, i have never seen the insideof this house? well, let'sjust have a look. honey, put thaton the table for mom. quince, help her. so how come youcan play basketball? i just can.

i never knew a girlthat can play. well, my momma saysshe doesn't know where i come from,'cause i act different. your dad play? he works at a bank. my dad playsfor the clippers. he says i'mgonna be a doctor or a lawyer, but i'm gonna playfor them, too.

same numberand everything. well, i'm gonna benumber 32, like magic. he's all right. my dad can take him. what wasthe most points your daddy ever gotin junior high? i don't know. a lot. well, one game,magic scored 48 points, they only had6-minute quarters,

and he sat outthe whole fourth quarter. you doact different. i don't care. well, if anybodymesses with you, just let me know, 'cause i runthis street. i'll just tellmy sister lena. she don't knowhow to box, i bet. my dad taught me howto fight like ali.

well, i know karatefrom almighty isis. bet you can'tdo this, though. ok, how about this? ow. ow, lena. monica. sit still. and don't siton your knees, sweetie. you're gonnaturn 'em black. oh, mama.

oh, you are luckyi found it. someone had putyour box of dresses underneath a pile of ragsin the garage. [giggling] you ok? yeah, it's just--i need to lay down. i've been running aroundall day. honey, w-which oneof these for tomorrow? blue stripe.

you sure? mm-hmm. you wanna iron 'emboth tonight? just in case. sure. thanks, sweetie. you know, that boynext door is gonna ride to schoolwith you tomorrow. so you'llknow somebody.

y'all hurry up. i'll comeback up for good nights. make it look nice, ok? [muffled soul musicheard through wall] [zeke and nona giggling] nona: oh, baby, baby,baby, baby, baby! zeke: oh, oh. ♪ want your mind ♪ ♪ don't want your money ♪ ♪ it's the words i say ♪

♪ that may sound funny ♪ ♪ but, oh, sweet thing ♪ ♪ oh, you know ♪ ♪ you mean everything ♪ ♪ oh, ah, sweet thing ♪ ♪ yes, you are ♪ you wannabe my girl? what do ihave to do? i guess we can play balland ride to school together.

when you get mad at me,i gotta give you flowers. but i don'tlike flowers. oh. how abouttwinkies? my mom won'tever buy 'em. ok. i think we oughtto kiss now. for how long? 5 seconds?

not out here. over there, then. ready? wait. 'cause youmy girl now, you gotta rideon my bike. but i want to ridemy own bike. my dad alwaysdrives my mom. so?

so that meansi have to ride you. come on. i don't have to dowhat you say. forget you,then, stupid. you stupid,and your dad plays for the worst teamin the n.b.a. last time they won,dr. j was a nurse. i don't want to beyour boyfriend anymore, you ugly dog.

well, i don't wantto be your girlfriend, big head. quincy: get off me! monica: big head. woman: do you understandthe metaphoric phrase, "lyte as a rock"? it's explaining how heavy the young lady is. ♪ must i say it again?i said it before ♪

♪ move out the way ♪ ♪ when i'm comingthrough the door ♪ ♪ me heavy? ♪ ♪ as lyte as a rock ♪ ♪ guys watch ♪ ♪ even someof the girls clock ♪ ♪ step back, it ain'tthat type of party ♪ ♪ no reply if youain't somebody ♪ ♪ get out my face ♪

♪ you don't wantto hear no more ♪ ♪ if you hate rejection ♪ ♪ don't try to score ♪ ♪ the world ultimate ♪ ♪ i'm hereto take the title ♪ ♪ but i hada little trouble ♪ ♪ upon my arrival ♪ hey, q. ♪ tried to rock me ♪

♪ lyte is here,no one can stop me ♪ ♪ i am the lyte ♪ ♪ a-a-as a rock ♪ ♪ l-y--l--l-y-t-e ♪ man: play some "d"!play some "d"! [whistle blows]technical foul. for what? come on, come on,come on, get in. let it go.

nah! ref: unsportsmanlikeconduct, white. 3, 2. monica. technical foul. man, you suck! 2 shots. sit downand shut up. camille: monica.

let it go.she feels better. oh, please.she's behaving horribly. monica! i'm out. coach:ok, i need a sub. karinda,sub, sub, sub. monica: come on, dad. you gotta talkto coach for me. what am i supposedto say to the man?

tell him to keep meon the floor. the coach from u.c.l.a.was there. he has meriding the bench. you lost your head. i was justshowing emotion. oh, so it's all rightfor you to act like that? whatever. well, what did you do? nothing.

i don't knowwhy i keep hoping you'll grow outof this tomboy thing. i won't.i'm a lesbian. [coughing] that's not funny. well, that's whatyou think, isn't it? 'cause i'd rather weara jersey than an apron? oh, please. i thinkwhat your mother's

trying to say is... maybe it's timeyou start thinking about other thingsbeside basketball. you gotone game left, and you haven'tbeen recruited. munchkin, i wanted thisas bad as you did, but we haveto face reality. the coach from u.s.c. is gonna beat the championship.

i know,but chances are-- chances arethere's still a chance. camille: if you wouldjust listen to someone for a change,you'd realize you have a lotgoing for yourself. you're smart. you would be pretty if you'd do somethingto your hair. i don't know whyyou wanna run around

with your hairlookin' like "who shot john andforgot to kill him." you'd be realpleasant-lookin' if you would smile. my mom's aboutto be home. so i'm not good enoughto meet your moms? now, girl. if my momsknew i had a hottie like youup in the crib...

she would beatthe black off of me. that's a lotof beatin'. ♪ u-g-l-y, you ain'tgot no alibi ♪ ♪ you ugly, yeah,yeah, you ugly ♪ ♪ m-a-m-a, ask mehow you got that way ♪ ♪ your mama, whoa,whoa, your mama ♪ [kool moe dee's i go to work playing] ♪ i go to work ♪ ♪ like a doctor ♪

♪ when i've got the mike ♪ ♪ you've got to like ♪ ♪ the way i operate ♪ ♪ i make clinics onhow to jump around ♪ ♪ i'm so lyrical,emote and float ♪ ♪ and explodeon the scene, mean, ♪ ♪ i got potential ♪ [cheering] hey, girl.

you know,your hair looks really cutelike that. thanks. so, um, do you know who q is askingto the spring dance? nope. come on, girl. youlive right next door. just tell mewho's been creeping. there's just so many,

i justcan't keep track. well, can you givehim this for me? please? give it yourself. i'm not tryingto look all fast. thanks, girl. good lord,look at that booty. i just wantto lick the sweat off. crowd: q! q!

reporter: quincy,so help me out. where's it gonna be? i'll see you at thepress conference, baby. come on, zeke. 4 years i've beenwriting about your son. did thatgreat cover story on you two in sunday magazine. so, what?you'd love for him to play at u.s.c.like you did, right?

no, i'd love for himto get a good education. i'll see you atthe press conference. fine. blow me off. never like that,baby. never. you know, we shouldhave another talk with coach carileof princeton. oh, come on, pop. there's no wayan ivy league team is gonna goall the way.

i don't care aboutthe team, quincy. i care about the school. oh, didn't we havethis conversation already? right. you played a goodgame today, man. i was proud of you. thanks, man. hey, you upfor a game later? i don't want to hurtyour feelings now.

yeah, right. you don'twant to hurt that back. oh, yeah,'cause i gotta bend down lowto guard you. anyway, i gottaget to this meeting, so tell your momi'm gonna be late. don't worktoo hard, pop. well, let's hopei can say the sameabout you someday. i love you, bro.

i love you, too. be cool. hey,what's up, man? what's up, man? thank you. hey, mr. m. hey, miss baller.excuse me, ladies. yeah? way to hoop.

i know this. what you want? a ride home. your legsdon't look broke. look, big head,i'll be at your car. i guess "please"would be a stretch? please. quincy: hey, hey. don'ttouch the radio, all right? just appreciatethe ride home.

come on, now. have a little respectfor a man's car. monica:put something on. no, i like going homein silence after the game. thinking about how goodi look shootin' that 3. don't flatter yourself. what's that? some note shawnee eastontold me to give you. shawnee easton.

withthe bigass titties? hey, give it here! uh-uh. give it here! "q, you are so fine. "i've been wanting to get with you. "let me take youto the spring dance, and i promise i'llleave you satisfied." ugh.

[laughing] what a ho. oh, why shegotta be a ho, 'cause she wannaget with me? she's a ho 'cause she'ssending her coochie through the mail. and? she's not saying,"i think you're a nice guy,

and i want to getto know you better." she's saying,"i wanna bone." she's honest. yeah, an honest,tramp-ass ho. but then i guess you'll stickyour thing in anything. my thing? i didn't knowyou cared so much. i don't. so, uh...

who you going tothe dance with, anyway? spalding? who's spalding? see? stupid! that's why you ain'tgetting recruited. who said i'm notgetting recruited? your hot-ass temper,that's who. i'm--i'm not the onewho put this scar here

when we were 11 years old'cause he was about to lose. you know what? give me your best shot. give me your best shot.i'm sick of-- would you watchthe damn road?! i'm watching the road.i'm sick of you hanging thisover my head, now. come on.give me your best shot. don't tempt me.

don't tempt me,i'm warning you. i'm warning you. if you don't storethat bad attitude, no one'sgonna recruit you. you jumpin some guy's face, you--you talk smack, and you get a--a pat on your ass. but becausei'm a female, i get told to calm downand act like a lady.

i'm a ballplayer. with a jacked-upattitude. didn't knowyou cared so much. i really don't. good. i'm home!what's up, mom? what is this? that's--that's your earring. oh, i look likesome hoochie to you?

i found iton your bed. ma, what youdoing in my room? quincy,i have told you about thesefast-ass girls. ma, we werejust studying. boy, i'm notplaying with you. now, i'm telling you, these girls are looking to get you caught.

they see you,and they see dollar signs. i know. are you hearing me? i'm hearing you. no. are you hearing me? i've beenhearing you, mom. how was your game? 27 points, 11 assists,still undefeated. still the man.

you know that. where's your dad? oh, he said he'dbe home later. later when? i don't know.he said he had a meetingor something. at 1:00in the morning? zeke: hey, look. i'mnot getting anywhere by punching a clockjust so my wife

doesn't getan attitude. you know, i camesecond to the n.b.a. i'm not aboutto come second in no bullshitscouting job. i didn't mean itlike that. yeah. zeke, all i'm sayingis that it would be nice if you found timefor your family. you should see the trampscoming after quincy.

if you don'ttalk to him-- i have. you know, you said thatyou would think about going back andgetting your degree. look, you saidi should get my degree. i likemy bullshit job, ok? and it's gonna lead toa front-office position. until then, don't worry. we gotjust enough savings

to keep your fine assin gucci and gold. how many nights doesmy fine ass get-- damn you! what about now? do i geta week yet? keep yourgoddamn voice down! keep your ass home! [arguing] [knocking]

monica: comingto my game? lena:you know that, but i gotfinals tomorrow, so i gotta leaveat halftime. uh-uh. you can'tleave at halftime. it'sthe championship. i know, honey,but i got a cutie coming to my roomto help me study. [laughs]

so, what's going on with you andthe spring dance? you, uh,got a date yet? yeah. brothers arelined up at my locker. i found you someone. found? i'm notsome charity case. ma tell youto do that? no, she did not.

damn, lena. who is he? this brotherfrom my college. he's--he's in college? and he is fine, girl. how'd you get himto say yes? i told himyou looked like me. [scoffs] great.

monica, you do. if you were tore up, i would notbe claiming you. trust. we're gonna do somethingcute with your hair, get youin a nice, sexy dress, get you some heels. i don't know howto walk in heels. hey. you just worry aboutplaying your heart out

for that recruitertonight. you let your big sisterworry about your date. you ever been in love? too many times. they ever love you back? once i cut 'em off. why? ♪ we got your pride,yeah, yeah ♪ ♪ we got your pride, yeah, yeah ♪

♪ we got the what, the what,the what, the what? ♪ ♪ the what, what, what,what, what, what, what? ♪ coach: i don'thave to tell you girls how big this game is.we worked too damn hard not to takethe championship with us. so we're gonna play smartand with control, and we're gonnakick some butt. captain! whose house?

team: c-house! c-house. c... house! c... house! lady cougars on 3. all: 1, 2, 3,lady cougars! coach: yeah! come on,now. come on!

[cheerleaders clap] cheerleaders:crenshaw cougars! [crowd cheers] man: whoo!crenshaw! crenshaw! green! white! [crowd cheering] 44, 44--44 spread, 44. [thinking] down 4,down 4, you got this. what you got, baby?what you got?

don't get tight.she's laying off. pull up. oh, no. down one, down one. come on, come on.d-up, d-up, mon. watch the ball.watch the ball. watch the ball. now. bonus. toss up.take it right.

watch left.watch your left! man: all right,watch your left! up one. d-up, mon. come on.play smart. up one. play smart.you got this. you got this.play smart. play smart. i got this.play smart. don't putthat out there.

[whistle blows] reaching in. no! come on, ref. ref! white, 3-2--reaching in. one and one. bull-- ugh! coach: let it go.

[crowd boos] girl: boo! coach: it's all right.just get it back. referee: one shot. coach: let's go, monica.take this all the way. cheerleaders: ♪ let's go,let's go, let's go ♪ [thinking]it's all you, mon. let's go.come on, come on, mon. get there.you just need to get there.

come on, you just need to--you need this. coach: foul, foul,foul, foul, foul. holding. that's 5. that's ok. it's ok, monica. you played hard. it's all right, monica. [buzzer sounds]

it might help ifyou didn't look so evil. i don't evenwant to go. tsk. mom! talk to me. go look in my top drawer and bringyour grandmother's pearls. tonight... don't worryabout yesterday's game

or the recruitersor anything else. i just want you toenjoy being beautiful. will you do that? lena: here you go, ma. do you really thinki'm beautiful? honey, hush. [johnny kemp's just got paid playing] ♪ i'm with this ♪ ♪ ow ♪

♪ beautiful girl ♪ ♪ feels good,feels good ♪ oh, oh, oh. ♪ oh ♪ ♪ just got paid ♪ ♪ it's friday night ♪ ♪ party huntin' ♪ ♪ feelin' all right ♪ ♪ body's shakin' ♪

♪ all around ♪ ♪ know one thing ♪ ♪ gettin' down ♪ ♪ check the mirror ♪ ♪ i'm lookin' fly ♪ ♪ round up the posse ♪ ♪ jump in my ride ♪ ♪ radio rockin' ♪ ♪ monster jams ♪

♪ feel the rhythm ♪ ♪ turn up the sound ♪ ♪ feelin' so good ♪ can itake your coat? oh, you're cold? no, no, no. i mean,i can check it for you. ha, sorry. your sisterwasn't lying. ♪ face is right ♪

♪ booty shakin' ♪ ♪ all around, baby ♪ ♪ now i'm gettin' down ♪ ♪ on the floor ♪ whoo. ♪ rockin' to the beat ♪ damn. hold up. ♪ sure look sweet ♪

♪ fine young lady ♪ ♪ standin' by ♪ ♪ come on, baby ♪ well, i seeyou made it. you don't lookhalf bad. you, either. what's up, black? jason. "q."

damn, girl. i didn't knownike made dresses. ah. [chuckles] guess we'llsee you later. [bobby brown's my prerogative playing] ♪ everybody say "ho!" ♪ ho! so, youlike school?

yeah. high schoolwas cool. i don't rememberthe sisters being as fineas you, though. girl, how comeyou're so stressed? sorry. no. i mean, i'm havinga good time with you. so tell mewhat i have to do to make you havea good time with me. my mouth is kind of dry.

then i'll get yousome punch. just don't jetwhile i'm gone and leavea glass slipper behind. there we go. ♪ i'm doin' itjust for you ♪ ♪ it's my prerogative ♪ ♪ tell me, tell me... ♪ ooh. oh, man.

♪ can't i ♪ ♪ live my life? ♪ hey, hey. you having fun? yep. damn d.j. is fresh. who is this clown? he ain't spalding. guess not.

d.j.: gonna slow it downa little bit tonight-- so, you took shawnee, huh? it was late.she asked, i mean-- you want to dance? ♪ hey, lady ♪ ♪ let me tell you why ♪ ♪ i can't live my life ♪ ♪ without you ♪ ♪ oh, baby ♪

♪ every time i see youwalkin' by ♪ ♪ i cannot breathe ♪ ♪ you don't want to see ♪ ♪ but in time, you will ♪ ♪ i must make you ♪ ♪ understand ♪ ♪ i want to be your man ♪ ♪ yes, i do, baby ♪ ♪ want to be your man ♪

♪ better not pass me by ♪ ♪ 'cause if you do ♪ ♪ you'll lose a good thing ♪ ♪ 'cause whati've got to say ♪ ♪ is sealed with a kiss ♪ ♪ and a wedding ring ♪ ♪ wedding ring ♪ [keys jingle] psst.

early night for you,isn't it? should beasking you the same after your big datewith college boy and all. where'd y'all go after? mulholland drive. figures. so, what dead-end streetdid you and shawnee hit? none of your business. i'm sure she kept her wordand left you satisfied.

that's whatyou think, huh? little after you left, i told shawneeit was time to go, drove her assstraight home. after she told me i was the dumbestbrother in the world, i took off. i was sitting injason's ride with him... and he was kissing on meand feeling on me and...

it was really bugging me,'cause i couldn't remember how many offensive boardsi had in the championship. and then i guesshe got sort of tired of me "accidentally"kneeing him in the balls. 4. you had4 offensive rebounds. hold up a second. what's up? u.s.c.

it was on my deskwhen i came home. what you waiting for? can you... they want you. yes. yes. and guess what. guess what. i'm going, too. they're announcing ittomorrow.

i knew it. congratulations. what was that about? i don't know,all right? [sighs] [this woman's work by kate bush playing] ♪ ahh, ooh ♪ ♪ pray god you can cope ♪ ♪ i'll stand outside ♪

♪ this woman's work ♪ ♪ this woman's world ♪ ♪ ooh, it's hardon the man ♪ ♪ now his part is over ♪ ♪ now starts the craft ♪ ♪ of the father ♪ ♪ i know you've got a little life in you yet ♪ ♪ i know you've gota lot of strength left ♪ ♪ i should be cryin' ♪

♪ but i justcan't let it show ♪ ♪ i should be hoping ♪ ♪ but i can'tstop thinking ♪ ♪ all the thingswe should've said ♪ ♪ that i never said ♪ ♪ all the thingswe should've done ♪ ♪ that we never did ♪ ♪ all the thingswe should've given ♪ ♪ but i didn't ♪

♪ oh, darling ♪ ♪ make it go ♪ wait a minute. ♪ make it go away ♪ ♪ give me these moments ♪ ♪ give them back ♪ ♪ to me ♪ ♪ give me that little kiss ♪ [gasps]

♪ give me your hand ♪ want me to stop? [moans] ♪ give me your pretty hand ♪ ♪ ooh, hoo, ahh, hahh ♪ woman: let's go, freshmen.you're getting spanked! monica, point guards lead fromthe front, not the back. come on, girl.

player: hey, see,you took her out. girl,you need your mama? do you need a hug? coach: monica, are youtrying to tell me you can't takea little charge? i can take it. get your feetset this time. go. unh.

next. coach: let's go.move it, move it! way to work it.good job. lower, monica,move your feet! i said lower! monica, monica,this is low. this is low.you got it? offense sells tickets.defense wins games. back to the line, everybody.let's go!

hustle up! move it!come on, get a move on. you got it.come on, lift. that's it. the coach hates me,doesn't she? she hates all freshmen. what is up with that? oh, don't take itpersonally. don't think just becausewe play the same position, we have to competewith each other.

we're teammates, ok? thanks, sidra. besides, i've beenthe starting point the last 2 years. and ain't no waysome soft-ass freshman is taking my spot. aah. damn, sid. you're all right, fresh.come on.

boy: it happensall the time. you finish yourreading for econ? what it say? basically,it broke down how i'm gonna makemad loot in the n.b.a., being i'm such a limitedcommodity, you know. whatever,big head. girl: hey, q-man. you gonna take usto the final 4?

we'll see. i'll be watching. hope so. you do see mestanding here, right? i can't be niceto a fan? fine, quincy. hey, look, i can't help itif girls come up to me. i said fine.

oh, little baby. oh, q! ow! what you doing? quit. daddy's here. you're such a punk. all these girls... you're the only onei know who's for real.

coach: all right now.hustle back! hustle back! player: get that, shay! nice shot! coach: stay with her. monica, get up on her. monica, stay on her. you got it.you got it. ball! coach: all right, now.push it up. push it up!

assistant coach:you got help. be active, sidra.don't reach. cut, mon, cut! shot! yeah, girl! sidra, you feel likeplaying any "d"? player: "d," "d,"let's get back. stay balanced.move your feet. oh, nice steal.

assistant coach:you're by yourself! player: yeah! whoo! heads up! whose net? yeah, girl. while you'reso busy posing, your manjust scored. show me again. you like to pose so much,let's see it again.

you think i'm funny? i want youto stand like that for the rest of practice. coach. i want you to stand like thatso you get sick of it, because i don't wantto see it again. do you hear me? dora,take her place. you betterstep off the court.

sidra: fresh meat,y'all, fresh meat. [players resume practice] player: ball's in. coach: nice pass. first player: what was upwith practice today? second player:she tried to kill us. l.t., can you hook me upwith some socks, please. yeah, i needmy socks back. l.t.: what am i,the sock lady or something?

yo, mon. that's what you getfor trying to show out, freshman. i was justplaying ball. you were tryingto make me look bad. i didn't haveto try very hard. girl, don't you knowyou just sloppy seconds? sidra,let it go. the only reason you here

is 'cause tanya randallgot pregnant and decidednot to come. they weredone recruiting. that's cold, sid. just thoughtthe girl should know. anyway. don't even trip, mon. she's just mad'cause she's bowlegged. quincy: man,forget tanya randall.

monica: i'm telling you, coach wishes she washere instead of me. so prove her wrong. look. i don't have iteasy like you, all right? there's no red carpetlaid out for me. so you're gonna actsalty all night? [knock on door] yo, dog, about to ordersome wings.

no, thanks, man. [door closes] no, we're fine. don't worry aboutproving everybody wrong. if you can't handlethe pressure, i'll understand. that is so weak. no. i'm serious.i mean, who cares if you're never knownas the first girl

to be in the n.b.a.? everybody knowsyou're gonna get more play being quincy mccall'sgirl, anyway. oh! ooh! that's what you get. i got you. so, how abouta little one on one? what we playing for? clothes.

i score, you strip. you score,i drop something. give me the ball. home courtadvantage, baby. all right.hold up a second. let's see what you got. don't reach. i ain't reaching. unh. mm-hmm.

strip. heh heh. all right,george jefferson. take it off.take it off, yeah. it's all right. first try,lucky try. oh. ho--what? feel the butt. ooh. whoo! where's the "d"?

kiss my black ass. oh, i plan to. [quincy whistles] hmm. ooh, oh! ooh! ooh! hold up? uh-uh. all's fair in loveand basketball, baby. strip.

hmm. come on. what, you tryingto clown? too bad you gotyour mama's height, huh? take it off. come on. do it. huh?you can't hold me. you're going down. what? what? oh, ooh. my bad.

ooh, where's the "d"? it's right here. i won. i wanted you to. it's about emotion.it's about determination. it's about heart. it's college basketball. and i'm like a kidin a candy store. are you kidding me?i get so excited about it.

eh, there are too manygreat teams to choose from. i mean,we're talking about the dukes, the kentuckys,arkansases. but my surprise treatthis season... is the probableemergence of u.s.c. as a basketball powerhouse. on the men's side-- the heavily recruitedfreshman phenom quincy mccall.

one of my realdiaper dandies, a genuine p.t.p.er, a prime time player, baby. and for the women, while not boasting one ofthe top recruiting classes, they are returning4 starters from last year's squad, which made itto the sweet 16. and coach ellie davisfeels that if just

one of her freshmanhas a breakout season... it's gonna be awesome, baby, with a capital "a"! [hinda hicks' our destiny playing] announcer: and at guard... player number 22--quincy mccall! yay! ♪ i been hoping ♪ ♪ every morning ♪

♪ that we would get tokiss within our lives ♪ ♪ well, it's not too late ♪ ♪ to right the wrongsthat we made ♪ ♪ future's tomorrow,limit's the sky ♪ ♪ when it allseems so crazy ♪ ♪ we wage war after war ♪ ♪ seems we'll fightnowhere no more ♪ ♪ darlin', they'll be roomfor you on my shoulder ♪ ♪ baby, good-bye ♪

♪ all we haveis so much clearer ♪ ♪ and we knowto leave behind ♪ ♪ all of the thingsthat hold us back now ♪ ♪ i believe we needto go on in life ♪ ♪ and fulfill our destiny ♪ whoa, whoa, whoa! here, now!a break! a break! go, go, go, go! ♪ all we hadis so much clearer ♪

♪ we know we care ♪ quincy: what elsedo i have to do? i mean, up and under between 2 defenderswith the left? you know, that's gotto make sports center. zeke and q. how you doing,terry? what can i getfor you? genuine draftfor me.

orange juice for my son. hey, pop. the numbersi'm putting up this year are better thanany other freshman. people sayingi'm a definite lottery pick. what people? just people,you know. tell them to mindtheir own damn business. here you go, fellas.

thanks, terry. quincy, give yourselftime to develop. get an education. the n.b.a.ain't going nowhere. you're right. besides,the sooner you go pro, the sooner you gotto deal with the mess i'm dealing with. what mess?

there's this thingout there, this paternity suit. some girl that's beenhanging on at every party. now i'm supposed tobe her baby's daddy. i told your mom i wantedto be the one to tell you. tell me what? i just told you. i mean, it's--it's not true, is it? you got the ballsto ask me that?

i'm sorry, pop. i'm sorry. no, no. if you needto hear me say it, i'll say it.it's not true. yo, q-man.awesome game. can i getyour autograph? yeah, sure. to paul. take it easy.

let's go, let's go. let's go, u.s.c. ow! aaah! time! you all right, sid? hang on, hang on.it's gonna be all right. just hang on. stay calm.it's all right. [soft music playing] mom?

♪ let it fall ♪ ♪ to my heart ♪ i'm late. ♪ wish i didn'tlove you so ♪ ♪ my love for you-- ♪ what's up, ma? hey, youscared me, baby. oh, i'm sorry. mm-hmm. i'm fine.

heh. you know, ma, last time my motherbe drinking, marvin gaye died.heh heh. is it about dad? i guesshe talked to you. don't sweat it. i mean, the truth'sbound to come out sooner or later,right? and whose truth areyou talking about?

mom, we can't letsomething like this break up the family. i mean, you dobelieve him, right? don't you? quincy,just let it go. ma, this ain'tnothing but about money. quincy, please. mama, how-- how many times youyourself done told me

to watch these hosout there? i should have been tellingyour father that. so you're gonna takethe word of some trick over pop? huh? what's this? i hired somebody. ain't that pathetic? after allhis late nights

and his-- his meetings, and i stillneeded proof. i used to thinkthat i was lucky being marriedto zeke mccall. i am too tired. i am tired. mama, don't cry. don't cry. put your handsin your pockets.

keep your head up. always look a man in the eye. all the time, i'mhanging on his every word like he's godor something. q, i know he messed up, but that doesn't changewhat he's been to you. what has he been to me? the man looked mein my eye, and he lied to melike it was nothing.

like... like it was easy. now, i know some guysdog their wives, you know, but... man, i didn't... i never thoughtmy pop would do something like that. why don't we walkto my dorm? mmm, i don't...

i don't feel likerunning into anybody. let's just kick it here. i--i can't. why not? coach has uson 11:00 curfew. if i'm late,i don't suit up. i mean, i could staya few more minutes. quincy, i'm sorry. all right, for real,

i...i should bealone right now, ok? give me a call, maybe,when you get in? i'll stay up. [blows whistle] q, q, q! gimme the ball! hustle up, hustle up! [clapping] coach: let's play,let's play.

play smart. hold it! get back, get back! [buzzer] no shot!offensive foul! yes! good job! whoo! [booing]

yeah, baby!we won! yeah! you see that crowd? oh, damn, mon,i think old girl took out your chi-chiswith that shot. [laughter] yo, t,why you so quiet? just thinkingabout next year. i thought you were hypedabout playing overseas.

i was, but it's nevergonna be like this-- playing in frontof my family, hanging outwith my homegirls. probably don't even havea mcdonald's over there. girl, please, there'salways a mcdonald's. monica... all: oooh. teammate:is she pregnant? second teammate:better be q.

you could have given up after you threwthat ball away. but you kept your head, and you showedreal heart. thanks, coach. we've got our final gamesagainst oregon and oregon state, and i want to shakethings up a bit, so... i'm starting youat point again. but i--

i thought sidra's anklewas ok for next game. you want the job or not? it just... it just seems likeyou're always riding me. you think i'd go hoarse fora player with no potential? when i ignore you,then you worry. ♪ hit it! ♪ [it takes two by rob base playing] ♪ it takes twoto make a thing go right ♪

man: q in the house! ♪ it takes two to make itout of sight ♪ ♪ i wanna rock right now ♪ ♪ i'm rob base,and i came to get down ♪ i missed youall day. really? i came by your crib. darren saidyou'd be here. when was this?

a littleafter my game. look, we wentto celebrate after, all right? but i came--i came right after that. sorry aboutyour game. hey, it happens, right? what's up, superstar? did you hearabout your girl? she wonthe starting spot. oh. hey,where the keg at?

it's in the back room. ♪ my name is rob,i got a real funky concept ♪ ♪ listen up, 'cause i'mgonna keep you in step ♪ ♪ i got an ideathat i wanna share... ♪ ♪ i'm number one,the uno, i like comp ♪ ♪ bring all the suckers'cause all of them i stomp ♪ ♪ bold and black,but i won't protect ♪ just wanted to saygood game. but?

no buts. ♪ 'cause i'm rob,the last name base, yeah ♪ just one word of advicefor next season. never let a freshmantake your spot. [do what u like by digital underground playing] ♪ i see guysand girls dancin' ♪ ♪ now, as the recordspins around ♪ ♪ recognize this sound?well, it's the underground ♪ ♪ you know we're downwith what you like ♪

all right, q-man.i'll see you. who was that? nobody. who's nobody? look, this party's wack. you ready to go? do you wantto go talk? not really. we can...we can finish

what we were talkingabout last night. q. q, quit! what's wrong? you know what?i'm just-- i'm gonna go crash. fine. maybe i'llcome by later. nah, i got curfew.

[cheering and laughter] what are youdoing here? the door was unlocked. it still is.you can let yourself out. i messed up, ok?i know that. but i ain'tthat kid's father. lucky kid. i ain't sayingit's right, just sometimesthings happen.

and some things shouldnever fucking happen! look, boy, you so perfect you can look down on me? i'm not a liar. hmm. your mama'sreal quick to show youthose pictures, huh? you know, she was 19when she got pregnant. now don't get me wrong, you're the best thingin my life.

but she knew i wasn't readyfor no marriage. you're trying to saymy mother trapped you? i'm saying i handledmy responsibilities like a man. now whenyou're in the n.b.a. and you roll into a city, there's a hundred girlswaiting down in that lobby. listen to me. and there's 20 morethat make it past security

onto your floor,and the boldest one is right thereat your front door. and after a while, man, it just becomespart of the game. i'm sorry i lied to youwhen i shouldn't have, but i only did itbecause i didn't want to see that look on your facethat you got right now. well, since we'rebeing so honest... since we're beingso honest,

i figuredthat i'd tell you i decided to drop out of school and turn pro. oh, boy. damn it! look, man, i knowyou're mad at me, ok? but i cannotlet you do this. i always thought"can't" wasn't ina man's vocabulary. [sobbing]

yeah! oh, yeah! hey, what's up? downtown. hey, what's up, girl? where's your boy? oh, in back. oh! oh, man! here you go.here you go.

hey, baby. you weren't at my game. i'm sorry. i had this meetingwith this guy. you win? yeah, i hit 4 3s. yo, q! the man again, huh? no, the woman.

hi. oh, monica,this is kerry. kerry, this is monica. what's going on? i was aboutto go get some food. you want to come? look, maybei should come back. no, you stay. i'll leave.

quincy: ready? kerry: yeah. what are you doing here? i didn't know i neededa reason to come home. come on.don't be so defensive. i'm justsurprised to see you. dad around? no. he's stillat the bank. is everything ok?

good. well, i'm goingdown to the market to get some thingsfor dinner. will you join us? i don't know. it's just a game. every time you lose,you get this attitude, but it is just a game. got your key? can we talk?

talk to yournew girlfriend. look, i took the hoto burger king. cheap date. at leastshe had time for me. so you messed aroundto prove a point?! what did i just say? you got your headso far up your ass, it took a cheap datefor you to notice me. what, q-man, did iforget to kiss your ass

like everybody else? you forgot to be there. that night you wantedto talk about your dad, i had curfew.what was i supposed to do? stay! if i stayed,i wouldn't be starting. well, at least you gotyour priorities straight. i'd never ask youto choose. you'd never have to.

if anybody knowswhat that means, it should be you. if basketballis all you care about, why are you bonin' me? why don't you bonedick vitale? wait a minute.hold on. how do i knowthe next time you're feelingneglected or whatever,

you're not gonnajust run around on me? if we're gonnabe together, i have to be ableto trust you. i'm not asking for usto be together. i'm going througha lot of shit right now. it's obviously morethen you got time for. how--how--how are yougonna tell me what i have time for? i mean,what-whatever i did,

we can fix this. i don't think so. you don't think so? look,i'm entering the draft. you're what?! i'm goin' pro. i mean, who knows where i'm gonna end up, you know? when did youdecide all of this? a few days ago.

so--so that's it? just... just forget aboutyou and me? i'd still like usto be friends. friends. look, i'll see you around. [singing in spanish] [children speaking spanish] hola, monica.

buena suerte. [speaking spanish] man: cada aã‘o, despuã©s de la temporada, yo me siento en mi oficina, y me enfermo. y saben por quã© me enfermo? porque sea que tengo que salir y hablarles y decirles, "el prã³ximo aã‘o." iel prã³ximo aã‘o! iel prã³ximo aã‘o!

ipero este aã‘o es el prã³ximo aã‘o! ieste aã‘o es el prã³ximo aã‘o! iã©ste es el campeonato! y vamos hacer como hemos hecho todo el aã‘o con ofensa y defensa. y vamos adelentar la pelota a monica, para que notar treinta puntos. asã­ que decidemos ipara la lucha! ila lucha!

ipreparense! ilistos! luisa,what did he say? he say to givethe ball to you. what's up,sidra? well, what do you know? i'm gonna love winning this championshipin your house. how do you say,"you're dreaming" in italian?

this ain't college,and i ain't on crutches. [cheering and clapping] gracias. can you take that damnthing off the table? oh, you meanmy championship trophy? my bad. you are stilla cocky bitch. hola. look at you.

so what are thesespanish guys like? i wouldn't know. you mean you've beenover here 7 months, and you ain'ttapped nothing? i don't know.just not my type, i guess. shit. them italian boys? they love themsome black women. they can't get enough of me. do you ever thinkabout going back?

sometimes, but what'sthe alternative? not playing? do you rememberbig toni? she quit last year, and now she worksat some bookstore. i mean, look at us. they treat us like hollywood starsover here.

we just played inthe championship game. it doesn't getmuch sweeter than this. [tv plays in spanish] chick hearn: they'vemade 7 straight points in this run.worthy for 3. stu, this gameis in the refrigerator. the door is closed.the lights are out. the eggs are cooling.butter gettin' hard, and the jell-o'sjigglin'.

and here come the subs, and, you know,it's nice to see the subs get a chance to play, and the fans love it. they really do. announcer:and quincy mccall is in for nick van exel. chick: quincy has gotthe ball over in the corner. puts up a 3-pointer.that's no good.

the former trojan came outafter his freshman year, and as they go downthe floor the other way, i can tell you that he hasmoved around quite a bit, but now he's trying to finda home with these lakers. quincy makes a steal.he's on his way. open court.look out, folks. it's showtime! nona? how is he?

not great. what is that,"not great"? he tore his a.c.l. almost didn't recognize youwith your hair like that. how you been? happy... and he won'twant to see you. hey, son. you made sports center.

what do you want? just came byto check on you. after 5 years? don't remember thatbeing all my fault. seems like you divorced me the same time as your mom. look... i know things look kind of bleakright now...

but don't get downon yourself. i stoppedtaking your advice a long time ago, or did you forget? you want meto step off, man? fine, but not untili say something. you're a better ballplayerthan i ever was... but that ain't the only thingyou got going for you.

you're smart, quincy. i always knewthat you could do anythingyou wanted to. you wantto play ball, son? then play ball. just know that you'renot like everybody else on that goddamned court. you're not like i was. you got options.

that's all i everwanted to show you. how comeyou couldn't be the man you kept tryingto make me? i just couldn't, son. good morning! and i thought thiswas gonna be awkward. uh... i--i got these. not that youneed any more.

so how're you doing? i'm, uh,i'm doing all right. i heard you were in spain. i was. i see your--your peach fuzzfinally grew in. just something newi'm trying. no, it looks good. i mean, it's cool. shouldn't--shouldn't yoube lying down?

no, no, i'm cool. uh, you canhave a seat. no, no, i'm fine. i'm fine. you still tryingto be the first girl in the n.b.a., huh? yeah, well, i triedsneaking in after college, but they found breastsduring my physical. that's funny.

i never did. oh, kiss my ass. i can't believeit's been 5 years. yeah, i tried calling youa couple of times. oh, yeah? yeah. i wantedto give you props on making first teamall-american, and then, you know, when magic retired,i tried again.

must have been my cheap-assanswering machine. it was always messing up. yeah, i figuredsomething like that. so when you going back? actually... i'm...i'm not. what do you mean? i'm tiredof playing overseas. i mean, i'm over thereby myself--

no family, no friends. my phone billis ridiculous. thinkin' about givin' ita rest for a while. a rest? i mean, basketball just isn't funfor me anymore. you know? quincy. hey, babe.

baby. nobody wouldswitch flights with me. oh, baby, what are youdoing out of bed? what are you doing? hello. baby,this is monica. oh, you guysgrew up together, right? quincy's told meall about you. monica, this is--this is kyra,

my fiancã©e. fian-fiancã©e? wow. i didn't know. that's--that's great.that's... well, um, i should go. monica, i reallyappreciate you coming by. yeah. we reallyappreciate it. quincy, good luckwith your knee

and everything. bye. your sister's bringingthe baby by later, so... be nice to be around. yeah, i can't waitto see her. need any help? no, i can manage,thank you. i--i justsaw quincy. how's he?

engaged. to that stewardess? yeah,you met her? his mother had a barbecuea few weeks back. he could do a lot better,if you ask me. so what do i do? find out wherethey're registered and send them a gift. is that still your answerto everything?

yeah, when you come at mewith bullshit like that. oh, no. are they cursingtheir mamas in spain? you didn't wantmy opinion, i don't even knowwhy you asked. i asked, but why does it always have to beso damn prissy? what do you want meto say, monica? go over thereand beat up the girl? go have sex with him?

'cause i'mnot gonna do it. yes, i thinkdecorum is important, and, yes,i'd rather bake a pie than shoota stupid jump-up shot. if that makes metoo prissy for you, then that'sjust too damn bad. so that's whywe can't get along? because i'd rather shoota stupid jump shot? you the onethat's always

turnin' your nose upat me. no, i don't. oh, yes.female superstar athlete whose mother isnothing but a housewife. that's not it. oh, don't tell meyou're not ashamed of me, 'cause i know. i remember wheni was 8 years old. you spent like 4 hours

cooking upthis big, fancy meal, and i guess you and dad got your wires crossedor something, 'cause in he walkswith a couple of pizzas, and you didn'tsay anything. you never stood upfor yourself. ever. if i was ashamed,it was because of that. that is ridiculous.

what's ridiculousis not being a caterer so your husbandcan feel like a man knowing his woman'shome cooking and ironing his drawers. damn it. oh, monica. is that reallyall you think about me? when your daddy and igot married, yes, i had dreams,

but i happen to havegotten pregnant with lena, and then i had you, so i had to putmy dreams on hold. you know what dayi remember? in high school, your spring dance, and i put my mother's pearls around your neck, and i told youyou were beautiful,

because you were. that day, i was happyi didn't have a catering businessto run off to. my familyhad 3 meals a day. they had somebodyto pick up after them... and when my daughterswent to a dance, i could help themget ready. that is whati came to care about. that's allyou cared about.

i must have played in a thousand games, and i can only rememberyou being at 2. you had your coachesand your daddy and everybodyfor that stuff. you knewit never mattered to you one way or anotherwhether i was at them games. it mattered, mama. it mattered.

♪ whoo-oo-oo ♪ ♪ hey ♪ ♪ oo-oo-ooh ♪ ♪ oh-h-h, yeah ♪ ♪ holding back the years ♪ ♪ thinking 'bout the fear ♪ ♪ i've had so long ♪ ♪ when somebodyhere listens ♪ ♪ listen tothe fear that's gone ♪

♪ oo-oo-ooh... ♪ save pulls upthe original account. shift f8 pulls upthe open account. oh, hello, mr. wright. could you excuse me? how's it going? fine? ♪ chance for meto escape ♪

♪ from all i've known ♪ ♪ holding back the tears ♪ ♪ 'cause nothing here ♪ ♪ is wrong ♪ ♪ i've wastedall my tears, yeah ♪ ♪ ain't gonnawaste no more ♪ ♪ wasted all those years ♪ ♪ till they just go by ♪ ♪ nothing had the chanceto be good, no, no ♪

♪ nothing ever could ♪ ♪ oh, no ♪ ♪ but i ♪ ♪ i'll keep holding on ♪ ♪ gotta keep holding on ♪ ♪ to never let go,no, no, no ♪ ♪ oh-h-h ♪ ♪ time, take your time ♪ ♪ baby, take your time ♪

i remember your momhad to beat you into a dress. very funny. visitin'? kyra's out of townfor a couple of days. figured i'd keepmy mom company. so how's the knee? it's getting there. strong enough to getyou down the aisle? 2 weeks.

i didn't get to send youan invitation, but-- oh, it's ok.it's ok. i'm probably-- you know. can i ask you something? you never told me why ballwasn't fun anymore. it just isn't. puhh!

'cause i'm kinda feelin'that way, too. had a rough coupleof years. that's all. i haven'tdribbled a ball in 4 1/2 months. i may miss someof the attention, but besides that-- you're serious. seems likei needed ball when i was tryingto be like my pop.

no. i was tryin' tobe better than my pop. now it's time i triedsomething different. like what? well, i'm thinkin' aboutgoin' back to school. what? oh. yeah.kyra hasn't heard aboutthe school thing yet. she'll probably say it'sthe painkillers talkin'. it's a trip, you know?

when you're a kid, you... you see the life you want, and it nevercrosses your mind that it's not gonnaturn out that way. so why did yougive up ball? why do you keepsweatin' me on that? because i don't get it. man, inever knew a girl, i never knew anyone wholoved ball as much as you.

now all of a sudden, you'regonna trade in your nikes for a pair of shoesyou can't even walk in. just leave it alone,all right? you need to puta sweater on him. it's a little chilly,sweetie. she's fine, ma. yes. her littleicicle arms are so sweet. all right, ma.

come on, lorraina. [crying] your grandmasays it's too cold. oh, grandma. [chuckling] ah! you know, monica... one of the things thatalways drove me crazy about you--

and i have to admitit made me jealous-- what i always admiredwas the fight in you. what are you talking about? well... i might bea little more prissy in this situationthan you, but remember when i said i thoughtquincy could do better? i was talkin' about you.

what's goin' on? we need to talk. you asked mewhat was missing. from basketball. you woke me upto tell me that? it's not fun for me anymorebecause you're missing. what i'm tryingto say is... i've loved yousince i was 11. it surewon't go away.

we haven't talkedsince college. you wait 2 weeksbefore my wedding to tell mesomething like that. i know. i probably shouldhave said it 2 weeks ago. you haven't changed.you still think the sun risesand sets on your ass. guess what? it doesn't. then whyare you so upset?

because youdon't pull this shit on someone who'sabout to get married. better latethan never. right? wrong. i'll play you. one game, one-on-one. [chuckles] for what? your heart.

you're out of your mind. so what?you gonna bitch up? huh. what's that supposedto be, some psychology? look, i know why you broke upwith me in college, and not that itwasn't messed up, but i should havebeen there for you. i just didn'tknow how to do that and be all about ball.

monica, after that stuffwith my dad, i couldn'ttrust anybody. ok? i was lost. that was 5 years ago. i've moved on. prove it. what will this prove? you once said the reasoni beat you was becauseyou wanted me to.

so... if i win, it's because deep down,you know you're about to makethe biggest mistake of your life. and deep down, youwant me to stop you. hunh... and what happenswhen you lose? if i lose...

i'll buy youa wedding present. first to 10. to 5. you scared? i have better thingsto do. check! why don't youd-up this time? 2-zip. 3-zip. where's the d?

sleepy? your knee hurt? come to play? so now you wanna play? now you're takin' offyour brace, huh? think that's gonnamake you play better? 2. 3. 3 up.

♪ when you fill my heartwith joy ♪ ♪ was i blindto the truth? ♪ ♪ just thereto fill the spaces now ♪ ♪ you have no interest in ♪ ♪ in leaving ♪ ♪ that i have to say ♪ ♪ out loud,you make me feel ♪ i don't hearyou talkin'. i don't hear you.

♪ i feel so dumb ♪ ♪ what kind of fool am i? ♪ ♪ you so easily ♪ ♪ set me aside ♪ ♪ you made a fool of me ♪ ♪ tell me why ♪ ♪ you ♪ point. ♪ say that you don't care ♪

♪ but we made love ♪ ♪ i want to kiss you ♪ ♪ does she want youwith the pain that i do? ♪ ♪ smell you in my dreams ♪ ♪ and now,when we're face to face ♪ ♪ you won't look mein the eye ♪ ♪ no time, no friendship,no love ♪ ♪ you say don't touch you ♪ ♪ i can't touch you ♪

♪ no more ♪ ♪ can't touch you ♪ ♪ anymore ♪ all's fair in loveand basketball, right? ♪ made ♪ ♪ a fool of me ♪ ♪ tell me ♪ double or nothin'. p.a.: all right,ladies and gentlemen,

let's stand and welcomeyour los angeles sparks! 15 and 6 on the year,5 in a row. let's meettonight's starters. at one forward, 6'1",from the university of florida, number 8, dalisha milton! at guard, 5'7", u.s.c.,number 32, monica wright-mccall! at forward, 6'1", fromthe university of georgia, number 00, lakesha frett! at guard, number 4,lawadi malika!

and at center, 6'5", u.s.c.,wearing jersey number 9.... [music begins] let's go, mccall! go, mommy! ♪ wherever you roam ♪ ♪ that's where ♪ ♪ i'll go ♪ see mommy? yay! ♪ however you climb ♪

♪ that's how ♪ ♪ whenever you shine ♪ ♪ that's when ♪ ♪ it don't matter the time ♪ ♪ baby, yeah ♪ ♪ never thought i'd knowsuccess, yeah ♪ ♪ never thoughti'd come to feel ♪ ♪ tenderness of your touch ♪ ♪ the good tasteof your sweet love ♪

♪ the sexinessof your appeal ♪ ♪ when you smile,i saw angels ♪ ♪ and all my worriesdisappeared ♪ ♪ you looked at mewith your heart ♪ ♪ blessed me with your wonder ♪ ♪ and held my futurein your hands ♪ ♪ so, wherever you roam ♪ ♪ it was like a tripto heaven, yeah ♪ ♪ a fantasy come true ♪

♪ there isno greater wonder ♪ ♪ a spell you got me under ♪ ♪ whatever you ask of me,i'll do ♪ ♪ baby ♪ ♪ however you climb... ♪ [new song begins] man: ♪ i wannadance tonight ♪ ♪ i wanna toast tonight ♪ ♪ i'll spendmy money tonight ♪

♪ i'll spend my money tonight ♪ ♪ i wanna dance tonight ♪ ♪ i wanna toast tonight ♪ ♪ i want to freak ittonight ♪ ♪ freakin',baby, yeah ♪ ♪ first thingwe need to do ♪ ♪ is buy brand-new fitsfor you ♪ ♪ make surethat you look good ♪ ♪ make sure that ismell good ♪

♪ let's purchase2 new billies ♪ ♪ i know that itlooks trendy ♪ ♪ so glad thatis not wendy ♪ ♪ here comes that girlnamed donnie ♪ ♪ ask if she wants to go ♪ ♪ tonight's gonna behot for sure ♪ ♪ big dancin' on the floor ♪ ♪ folks trippin',i don't know ♪ ♪ money flyin' everywhere ♪

♪ champagne,we won't go there ♪ ♪ bottles poppin'in the air ♪ ♪ they'll be screamin',i don't care ♪ ♪ i wanna dance night,i wanna toast tonight ♪ ♪ i'll spend my moneytonight ♪ ♪ i wanna get freakytonight ♪ woman:♪ the work counted ♪ ♪ me and a coupleof friends ♪ ♪ don't needto settle down ♪

♪ my bodydon't know how ♪ ♪ from there ♪ ♪ i see you lookin' ♪ ♪ sure hope ♪ ♪ that you're not tookin' ♪ ♪ don't hear usin the crowd ♪ ♪ this placeis so damn loud ♪ ♪ go ahead andclose your eyes ♪ ♪ go ahead,doowutchyalike ♪

♪ i'm feelin' just as fine ♪ ♪ do you feelyou're so divine? ♪ ♪ i wannatoast tonight ♪ ♪ i wanna dance tonight ♪ ♪ yeah, yeah, yeah, yeah,yeah, yeah ♪ ♪ i'll be all righttonight ♪ ♪ i wanna get funky tonight ♪ ♪ oh, yeah,dance tonight ♪ ♪ toast tonight,spend your money ♪

♪ spend my money ♪ ♪ dance tonight,toast tonight ♪ ♪ break your body, baby ♪ ♪ toast tonight,spend your money, baby ♪ ♪ dance tonight, toast tonight ♪ ♪ spend my money, baby ♪ ♪ break your body,baby ♪ ♪ oh, yeah ♪ ♪ dance with me ♪

♪ la la la la la la ♪ ♪ i been so many placesin my life ♪ ♪ i've seen so many facespassing by ♪ ♪ nevertheless, i hold onto what i know ♪ ♪ that hope alone is bothprecious and gold ♪ ♪ there's no belief that igive my love whole ♪ ♪ and even if the truthsof life remain untold ♪ ♪ i know one day the mysteriesthey will unfold ♪ ♪ and my greatnessand strength i will behold ♪

♪ i soar, i fly ♪ ♪ i reach abovethe distant morning star ♪ ♪ i live one day ♪ ♪ i miss a step,i will my love away ♪ ♪ la la la la la-ahh ♪ ♪ ahh ♪ ♪ la la la la la-aah ♪ ♪ i soar ♪ ♪ i fly ♪

♪ i live ♪ ♪ one day ♪ ♪ i miss the stand ♪ ♪ ahh ohh ♪ ♪ la la la la la ♪ captioned by the nationalcaptioning institute--www.ncicap.org--

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Dishing Out Healthy And Delicious Meals

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Dishing Out Healthy And Delicious Meals

hi, i am eugenie. people normally make egg rolls with a retangular frying pan. today i am going to show you how to make egg rolls with a round frying pan. for this recipe, you will need: 3 eggs 1 tablespoon milk 1 tablespoon carrot, chopped 1 tablespoon onion, chopped 1 tablespoon spring onion, chopped

salt and freshly ground pepper. first, crack the eggs into a mixing bowl and add in milk and salt. i am adding about ⽠teaspoon of salt. whisk until combined. then pass through a fine sieve to remove chalaza. chalaza is known to contain cholesterol and it’s frequently removed for finer texture of dish. and add in carrot, onion, spring onion, they are all finely chopped.

and add in pepper. and stir until combined. lightly grease a frying pan with vegetable oil, today i am using a spray oil and a 10 inch pan. it’s a small egg roll. and heat the frying pan. then pour in 1/2 egg mixture and cook it over low heat until half done. roll omelet half way up to the middle. and if there is not enough oil, lightly grease the pan each time you roll up.

and add in a ⼠of egg mixture to the side of unrolled omelet. and cook until half done. and roll half way up again and move the egg roll to the center of the pan. and add in the remaining egg mixture and cook until half done. and finally roll all the way up. transfer to a cutting board. when an egg roll is hot, it’s easily broken. so let cool before cutting. now slice into bite-size pieces. and serve.

it’s quick and easy. everyone can make it, and everyone likes it. it's beautiful. bon appetit. if you liked this, give me thumbs up and don't forget to subscribe. and get my weekly schedule at facebook, instagram, or eugeniekitchen.com. thank you for watching. bye for now!

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Discover The Secrets Of Gourmet Chefs And How To Make 100 s Of Chocolate And Dessert And Recipes With Easy To Follow Videos You Can Watch At Home

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Discover The Secrets Of Gourmet Chefs And How To Make 100 s Of Chocolate And Dessert And Recipes With Easy To Follow Videos You Can Watch At Home

female speaker: goodafternoon. i'm delighted to welcome chriskimball to google. i'm sure he needs nointroduction, so i'm going to do a very brief one. he's the founder of "cook'sillustrated" magazine. it was founded back in 1980. and he's the host of "america'stest kitchen," which is the most watchedcooking show on public tv. and he's made so manycontributions to the culinary

industry that i'm not even goingto try to mention them. but he did found who's whoand cooking in america. and at least in my kitchen,"america's test kitchen" cookbooks are a must have. and chris is here today to talkabout "the science of good cooking." if you haven'tpicked up your copy in the back, please do. [applause] chris kimball: it feelslike the "johnny

carson show" or something. so this is a littlebit about-- i won't talk too much about thebook, but about what we do in "the test kitchen." you know,the fundamental precept of science is you sit aroundand think about why things happen, and then you devise anexperiment to either prove or disprove that. so you watch the applefall, whatever. and the ultimate exampleof this--

there's a youtube videoabout this, actually. it's about 40 minutes long. it's great. a called lawrence krauss,cosmologist, and he decided, with a bunch of othercosmologists a few years ago, to figure out whetherwe live in a closed, open, or flat universe. this will have something to dowith cooking, eventually. so in a closed universe, itcollapses, we have a big bang,

we all die. in open universe, it expandsexponentially. in a flat universe, it expands,but the rate of expansion slows. so they were trying tofigure out how to do that relatively simply. and so the first thing theysaid, well, ok, in a flat universe, light travelsin a straight line. in a closed or open universe,light diverges or converges.

which means that if you lookedat something a long way from earth, it would be bigger orsmaller than it actually is. if you live in a flatuniverse, it will be the right size. ok, so the next thingwas what to measure. well, they said, let's go as faraway from earth as we can, because the farther away weare, the more we could see that converging or divergingof the light. let's go back to the big bang,13.72 billion years ago.

the problem with that is, forabout 100,000 years after the big bang, it was like lookingat the center of the sun. it was pea soup. couldn't see anything. so about 100,000 years later,you could start to see things. and so, ok, that'sa good distance. now the question was, whatare you going to measure? and here's where it gota little weird. they said, well, the universeis only 100,000 years old.

nothing travels faster thanthe speed of light. so that includes gravity. gravity can't travel fasterthan the speed of light. so the biggest thing could be100,000 light years, because if you're a lump of matter,you want to attract other matter, you couldn't communicatefarther than that. it's like a little town ingermany 2,000 years ago, a village that maybe people from20 or 30 miles might come in, but if you're 500 miles away,you wouldn't even know the

village existed. same thing. so they said, ok, so theobject would be there. we know where it's goingto be, how far away. and it should be 100,000light years. that's the maximum size, whichturns out to be 1 degree of 360 in the sky. so the other question is,how do you measure it? and they said, well, we'llsend up a balloon.

this is what i like, theseguys sit around trying to figure out what kindof universe. they get this big heliumballoon, they send it up and it has essentially a camera thatmeasures the background microwave radiationfrom that point. light waves as they travel,flatten out, infrared, microwaves have the longestwavelength. so for those of you-- and therearen't many of you here. there's a few of my vintage--

in the days a television stationstopped broadcasting, oddly enough, at 1:00 or 2:00in the morning, you'd get static on your television set. and 1% of that static was, infact, microwave radiation from just after the big bang. so you could actually see it. so they took pictures, and theydeveloped it, and they put it up on the wall. and it turns out that thebiggest things they saw were

exactly 1 degree. and that was exactlywhat was predicted. and so since it was 1 degree,we live in a flat universe. so that's exactly what we do at"america's test kitchen." audience: [laughter] chris kimball: see? on a slightly smaller scale. so we don't have big balloons. but we use scientificprinciples.

equilibrium. this was invented or discovered about 1750 in france. french scientists decided,well, ok, i don't have balloons, but i havepig bladders. i'll fill it with alcohol, putit in a big tub of water, and i'll see what happens. well, of course, what happenedwas water is 100% water, alcohol is 50% water, so some ofthe water from outside went

through the membrane tocreate equilibrium. that's called osmosis. diffusion. but if you're going to brine aturkey next week, there's a little osmosis there. salt. you put salt on the outside ofa turkey, or in a brine, and that's diffusion. the salt from the outside goesto the inside to create

equilibrium. so when you brine, you're usinga very old scientific concept of equilibrium. and what happens is the chickenor the turkey soaks up water, and if there was nobrine, there was no salt, that water would come outduring cooking. but what the salt does is ittakes the proteins, it denatures them, they are ableto now hold onto water, because there's nowroom for water to

get into the proteins. some of the proteins turninto a gelatin, which also absorb water. so what the salt does is helpthe turkey hold onto water, even when heated and roasted. so not all of it leaves. some of it actually stays. and that's all basedon an old premise. some of the things we liketo do is disprove

stupid cooking theories. the world is flat theories. one of them is sear meatto seal in the juices. you still in cookbooks today,and on some cooking shows, will see people say that, andit's just total nonsense. searing meat sears meat. it's the maillardreaction, which we'll get to in a second. amino acids and sugars arecreating flavor compounds.

but it turns out that juicymeat is just a function of internal temperature. about 110 degrees, meat fibersthat sort of look like insulated wires will start toshrink around the diameter and the length. the liquid in those fibersgets pushed out. the more you cook meat, thedryer it gets, and it has nothing to do with whetherit's seared or not. if you pot roast or barbecue,and you start with a piece of

meat that has a lot of collagenin it, like pork butt, for example, well, thatcollagen turns into gelatin, melts, and that will hold ontoliquid, so that does work over a long period of time. another thing people say veryoften is braising turns out moist, succulent meat. and it kind of makes sense,because you have a closed pot, and you have a little bit ofliquid, and you have a pot roast or piece of pork.

in fact, madeleine kamman, in"the making of a cook," which is a great book you should read,says that very thing. she says the steam getsinto the meat. it does this. no. it's the same thing. you can boil a pot roast, orsimmer a pot roast in water. you can roast itin a dry oven. you can braise it ina closed container.

and if you get it to the sameinternal temperature, 185, 190, it will be exactlythe same inside. so it doesn't matter if there'sliquid around it, air around it, a little bit ofliquid on it, steam, it doesn't matter. it's all about the internaltemperature. lots of other things-- recipes say pat meat drybefore you sautee it. and, by the way, i know whatyou all do, even though you

work for google. i know what you do. and that is that youtake our recipes-- and i do the same thing-- and you take them as vaguedirections about what you might do if you actuallyhad the ingredients. chris kimball: and you don't,and you don't have the right cookware, and lotsof other things. so our job is not to createa recipe that

works in our kitchen. it's for us to figureout what you do. and what you do is reallyinteresting. and matter of fact, i thinkbehavioral psychology should spend more time looking at-- they do, like, howpeople vote. now they should dohow people cook. about two years ago, we had achicken breast recipe, and we sent our recipes out.

it takes us five or six weeksto develop a recipe. we sent it out to a bunch of youwho volunteered, and over the course of a week, 200 or 300of you will have made the recipe, and you'llfill out a form. and unless 80% of you say youwould make it again, we go back in the kitchen. well, this particulargentleman-- and this recipe gota great rating. 90% of the people wouldmake it again.

this one gentleman said it wasthe worst chicken breast recipe he'd ever made, whichcaught our attention. and at the bottom, there's alittle place on surveymonkey, which is the software we use-- he had a comment, and this isverbatim, what he said. he said, "well," comma, "ididn't have any chicken." chris kimball: ok. "i substituted shrimp." audience: [gasps]

chris kimball: so if you cookshrimp for 25 minutes, indeed, it would be the worst shrimprecipe you've ever had. but it's my fault, see. so it was my job to say in thehead note, do not substitute shrimp for chicken in thischicken breast recipe. so anyway, to go back to thesteak story, so the problem is, if you put a wet piece ofmeat or poultry in a pan, assuming the pan is the righttemperature, the meat's not going to get above the boilingpoint of water, because the

water has to evaporate first. so your steak is sitting thereat 210 or 212 degrees until that water goes away. so you're steaming the meat,it sticks to the pan. the maillard reaction, which asi said is amino acids and sugars creating flavorcompounds, doesn't happen 'til over 300 degrees, so you're notgoing to get any browning. and that is a reason, by theway, you shouldn't use non-stick cookware-- because70% of cookware sold in the

united states is non-stick. it's good for eggs,it's good for seafood, a few other things. stir fry with a sticky sauce. it's terrible for everythingelse, because you can't create a fond on the bottom of thepan-- that brown stuff that when you're first beginning tocook, you throw away, because it's messy, and then you realizeit has all the flavor. years ago, a friend of minecame over from france--

he was a butcher-- to show us some tricks. and during the morning, he had abunch of onions, like 5 or 6 pounds of onions, a littlewine, little water, little oil. all he did was put it in a bigle creuset dutch oven, and he sauteed it, browned it,caramelized it. and every half hour or so, hedeglazed the bottom of the pot with a little wine.

and he didn't add stock,he didn't add any other ingredients. and by 12:00, 12:30, we hadfrench onion soup, and it was the best french onion soupi had in my life. and all the flavor, 100% of it,came from the fond at the bottom of the pan. and so if that had been anon-stick pan, we would have had the world's worstfrench onion soup. so anyway.

so those are just a few ofthe things that we test. and another one which isrelevant for next week, for those of you who are going tomake pie dough, recipes always say add just enough water 'tilthe dough holds together. yeah, whoever wrote that shouldbe taken out and run over with a truck, becauseyou're all scared to add too much water, so what happens? you create dry pie dough,and it doesn't roll out. it rolls out into pieces, andyou have to do a pat in the

pan crust when nobody'slooking. that's what's going tohappen, because i've done it many times. and the reason you don't wantto add too much water is because in flour, thereare two proteins-- glutinin, which sounds likegluten, but it's different, and gliadin. in the presence of water, theyform gluten, and that's why you could have a no knead breaddough recipe-- because

if you let water and flour sitlong enough, like overnight, gluten will developon its own. you don't have to knead bread. so what's going on with piepastry is, a little too much water, a little bit too muchgluten gets developed. so we sat around, just likelawrence krauss did years ago, and said, we need more liquid,but we can't use water, because water reacts withglutinin and gliadin to produce gluten.

what else could we use? and the obvious answerwas vodka. i mean, really. because alcohol actually doesn'treact with proteins. water does. so we said, we'll use halfwater, half vodka, add a little bit of extra liquid--another tablespoon, so you have a nice, moist dough,rolls out easily. and by the way, alcohol willdissipate at a much lower

temperature than water, so youput in the oven, and you end up with a nice, dry, flakydough, so, vodka pie crust. and thank you to ourfood scientist. one thing i should warn youabout food scientists, because i've worked with themall my life. we have a guy who workswith us, this guy, crosby, who's very good. but remember in fifth grade, youhad those stupid molecular things with the balls?

well, eventually, over time,i kept asking, do molecules really look like this? and some would say,well, not really. it's just, we're trying to-- i paraphrase-- we're giving you as muchinformation as we think you can handle. so great. they think i'm an idiot.

so over all these years, i'mthinking about these red balls and green balls andeverything else. and yes, it talks aboutconnectivity and other things, but it is, in essence,really, molecules don't look like that. so when you talk to a foodscientist, the first time you ask them a question aboutstarchy potatoes, for example, and amylose and amylopectin andeverything else, they'll give you the answer they thinkyou can handle, which is

basically the idiot's answer. and then you come back a coupleweeks later and say, well, you know, it doesn'treally make sense because-- and they say, ok, ok,now i'll tell you. and then they give youthe next layer down. there's like 10 layers, and i'mworking my way down to the 10th layer. i'm at about layer 7 now,because he thinks i can handle layer 7.

but the problem with foodscience is, as einstein, of course, was not a foodscientist-- it was too hard-- there are too many variables. there's too muchstuff going on. so it's very hard toisolate one thing. even if you isolate, let's say,10% protein flour from 12%, you do two cakes or twobiscuits, it could be that you didn't measure somethingproperly, the ovens were slightly off, it was a humidday versus not a humid day.

so there's lots of stuff goingon, so you have to do things over and over and over again tomake sure that your results actually are reproducible,which, of course, is the essence of science. so that's what we do, and thisbook is really a result of 20 years of work in the kitchen. we took 50 scientific principlesin some recipes to illustrate them. and i've been on tour, and oneof the things i do if it's a

morning show or something is wehave a red bliss potato, a non-starchy potato, and wehave a russet potato. the russet potato has morestarch, which has got a higher specific gravity, and shouldsink, and the red bliss potato should float. and i did this on "the todayshow" about a month ago, and they both sank. so sometimes, the resultsare not reproducible. so i just hid it behindthe other thing, and

it just went on. so that's what we do, and i'dlove to take some questions. and by the way, before someonehas the courage to ask a question, lynne rossetto casperfrom "the splendid table," whom i've known fora long time, she had this problem once, and she told theaudience that she would start removing her clothes if shedidn't get a question asked. and they started askingquestions. audience: thank you.

so i was wondering two things. one of them is that youmentioned caramelizing onions. and i know that what einsteintold his cook-- that was one of the author's pet peeves. chris kimball: yeah. audience: that's a side thing. you can talk. but the question ihave is actually about non-stick cookware.

chris kimball: thatwas wolke, yeah. that guy. audience: yes. the question i have is actually there's actually new non-stickcookware coming out. it's ceramic, i guess, base,or something else. can you talk a little bit aboutwhat you think of those? chris kimball: yeah,we've tested a lot of non-stick cookware.

there's low-stick cookware likecalphalon, which, if you look at it under a microscope,it just has fewer craters in it. it's smoother, so the fooddoesn't stick as much. there are ceramic non-stickcookware as well. we basically didn'tlike any of them. they either claimed they weregreener, which they really weren't, or if theyreally were green, they weren't non-stick.

so we went through all of them,and the one that we ended up with is justthe classic. they all use essentially thesame chemical-- slightly different bonding techniques. the problem with non-stickcookware-- there's a number of them-- first of all, there's somethingcalled polymer fume fever, and i actually subjectedmyself to this just to find out what it was like.

so over 500 degrees, you'll seethe smoking, and if you happen to have a parakeet inthe room, you know, the parakeet might not survivethat process. i took a big whiff, and had avicious headache for about five hours. over 600 degrees, that chemicalactually starts to break down, and that'swhy non-stick pans, over a year or two-- i mean, in our kitchen, theydon't last more than a year.

they actually start to breakdown, and that coating actually comes off. so the other thing you can useis cast iron, if you are of the mind to season it properly,which takes a little more time, which i like. but when it comes to doingscrambled eggs, a 10-inch or 8-inch non-stick all-clad orsomething similar actually is fairly essential. but that's about alli use it for.

audience: i'll say in defense ofnon-stick, you guys have a great recipe from a few monthsago for thai stir fried noodles for which you sayspecifically, get this non-stick 12-inch pan. great recipe, i love it. one of the great examples ofi don't do it unless i have exactly what "cook'sillustrated" says i need to have. chris kimball: you're theonly reader who does.

i've finally found him. audience: from bitterexperience, i've learned my lesson. so my question-- you guys testall these recipes over and over again in the "testkitchen." what do you do with all the food that you create? chris kimball: oh, well, firstof all, we're not licensed by the town of brookline justoutside of boston to serve food to the public.

it's a long story. so we wanted to give food to thelocal shelter, food bank. we do give canned food, but wecouldn't give our cooked food. so we have about 140 employees,slightly smaller than you, and the test cooks inthe kitchen-- we have about 45 test cooks, it's about a3,500 square foot kitchen-- the really good food, and thereally expensive food, like the tenderloin, the lobster,et cetera-- that immediately disappears.

we have these big clear plastictakeout containers and big magic markers. so i-- chris, for chris, put the stuffin, and go into our takeout fridge. and at night, theybring it home. the food that's pretty goodbut not great, we call the marketing departmentdown for that. chris kimball: no, i mean,marketing's important, right?

ok. and then the really horriblefood is the finance people. my cfo lives off leftoverhalloween candy until january. that's all she eats. and they're grateful for that,so that's how it works. we're hoping we can get licensedto actually do something else with it. we have 140 employees, so it allgets eaten, and our test cooks never cook during the weekat night, because they've

been cooking all day, and theyjust take the food home, so. audience: you brought up theconcept of brining earlier, and the best thanksgiving turkeyi ever made i brined. and could you go over some ofthe basic principles, since a lot of people are going to beroasting turkeys next week, of what it takes to makea good turkey? chris kimball: yes. the problem with having a foodmagazine is every year, there's thanksgiving,and we have to come

up with a new recipe. so somehow we've comeup with 20 versions. the basic formula is1 cup of table salt per gallon of water. if it's going to be a 12, 14pound turkey, you'd brine it for six to eight hours, something like that, overnight. you got to keep it cool,preferably no more than 40 degrees, which can be a problemif you don't have a

cold cellar somewhereor outside. and then you want to make sureit's dried off very well. you put it in a 375 to 400 oven,breast side down for an hour, then flip it breast sideup and continue cooking it-- maybe even increase thetemperature for the last half hour or so. we've done lots of otherrecipes, one of which i like is you cut it into partsand you braise it. i did that last year.

then you get a great gravy outof it, and then you don't have the problem with the white meat,dark meat, when it's done problem. i just did for "morningedition" next week on wednesday-- we do a segmentevery year on thanksgiving, and we did julia child recipes, all julia child recipes. she's got this great recipewhere she takes the backbone out and takes the whole breastand puts it over a huge amount

of stuffing on a roasting traywith aluminum foil, cooks that, and then she has the thighand the legs together, those two pieces roastedseparately on a rack on a baking sheet. but what she does isreally interesting. she takes the bone outof the thigh, which takes about a minute. it's real easy to do. just use a paring knife.

and then she spreads it open,puts salt, pepper, a little sage, whatever you want, sewedit up, or just wrapped it easily with some stringand roasted that. only took about an hourand a half to cook. and then when you slicethe thigh, there's no bone, which is great. and that really works well. and if you like, she also had apicture of reassembling the bird after it's cooked, so youhave that little norman

rockwell moment or whatever. if anyone does havethat moment. so that's the basic concept. the other way you cando it is butterfly a turkey after brining. you take the backbone out. it's good to have poultryshears for that. flatten it, press down on thebreastbone, and then cook that on a rack over a huge mound ofstuffing, which is also one of

my favorite techniques. so you don't have to worry abouta little bit of stuffing in the cavity, which you shouldnever do, because the stuffing takes a long timeto get up to 160. you don't have much of it, andthe meat will be overcooked. so butterfly it, take thebackbone out, rack over stuffing, and you getmaximum stuffing. so those are four suggestions. audience: did you startas a food writer?

was that what you sort of-- chris kimball: i started asa primitive art major at columbia in 1969. well, actually, no. i had four years of therevolution, so we didn't have finals three out of the fouryears, because the secret was, we only had revolutionswhen it was warm, which was in may, usually. so i started that.

i worked in a small publishingfirm in new york for a couple years, ran a company for afew years in the '70s. it was in and around the wholeissue of magazines and publishing. and then i started "cook's"in 1980-- april 1980. today, if you want to-- i've been grandfatheredinto my own company. i don't think i'd get a jobthere now, probably.

if you wanted to get a job inour kitchen today, you'd have to come in and do a bench test,which means that a bunch of people will stand around youwith clipboards and not talk while you cook all day, tosee if you have the knife skills, you can expedite. but really, we're looking forpeople who are incredibly stubborn, don't mind doing thesame thing constantly, like the same recipe for weeksand weeks on end. you have to develop a recipeon your own and write it up

and submit the article. and then we do three monthinternships, and then usually at the end of that period, we'llkeep one or two of the people to work full timein the kitchen. so what we really dois a group process. we sit down every tuesdaymorning at 9:00 am, editorial table, and whoever's working ona particular recipe talks. we sit down, have ideas. every time there's a tasting,there's a bunch of people in

the kitchen. so it's really very muchabout a group process. it's not quite one man, onevote, but it's almost that. and that's how we developthe process. it comes from-- i went to a high school whichused an oval table, the harkness table. and you'd sit around a table,and the professor or teacher would be standing up in thecorner, and you would have to

come up with a position aboutsomething about russian history, and you'd have todefend your position as your fellow students ripped you toshreds, which is basically what we do now is to sit aroundand argue, which i assume you do a lot here, too. audience: so you're inmagazines, but you must also have been kind of crazyabout food. and then you also seem to havethis scientific bent. chris kimball: well, i've beencooking since i was about

seven, yes. my first recipe was a chocolatecake out of "the joy of cooking" with a seven minuteboiled icing, which turned out like snot. actually, i do stillremember the cake. everyone said it was very good,but i knew it wasn't. and in the '70s, istarted taking a lot of cooking classes. and i realized there was oneguy in particular, who was

actually a great guy,but he put on this fake french accent-- he was from florida. but he talked likethe [fake french] like this, and he would saythings like you have to scald milk to make a bechamel. well, i went home, made it withcold milk, it was fine. he refused to talk about it. and it turns out that you onlyscald milk if it's raw milk,

because pasteurization isscalding milk, and you want to kill off an enzymethat needs to be killed to have it thicken. so it occurred to me, theemperor's new clothes, that a lot of stuff that was beingtaught at the time in the '60s and '70s was just beingpassed down. and probably at the time, itmade sense, like when people had nothing but raw milk. but there was a whole bunch ofthings like that that just

made no sense anymore. and the cookware was changing,the food processor came in from carl sontheimerin the early '70s. french cooking was goingaway, american cooking was coming up. so my interest was actuallystarting a magazine where you could talk about cooking. at the time, there was"cuisine," "food & wine," "bon apetitt," "gourmet," noneof which really

focused on the kitchen. it was all about peoplesmiling at parties, traveling, on yachts. and so i just wanted to focuson fudgy brownies, essentially. audience: so you talked abouttechniques, but i want to ask you about the actual productand ingredients. i made a conscious decision toswitch to grass-fed beef, and most of these techniques nolonger work, because this meat

is so different. there's less fat. what recommendations,what suggestions do you have for me? chris kimball: well, we raiseour own beef and pork, too, and we started out doingpure grass fed. well, i don't know if you'veever had no grain purely grass fed, but it's toughand it's strong. and actually, in the lastthree months, we

grained them, too. so i like mostly grass fed, buti like grain at the end, because i think it's better. but it's like tryingto cook venison, because it's very lean. and the other problem is thebutchers love the round, the thigh, because it's this hugehunk of meat with just one bone in it. it's not complicated.

but the problem is, it's lean. and especially grass-fed beef. so the first thing i would dois get the fattiest cuts. chuck eye roast,shoulder roast, anything from the chuck. i would never touch the roundunder any circumstances. and then, unless you want tolard it, like fannie farmer used to do, you're probablygoing to have to cook it low and slow.

but i would get the fattiest cutfrom grass-fed beef that i possibly could. don't get anything lean,because it's going to be lean anyway. audience: i'm curious what yourtake is on the molecular gastronomy movement, which alsosort of bills itself as a science driven, althoughprobably not as accessible, approach. chris kimball: well, i'm now aninstant expert, because i

went to see nathan myhrvold twodays ago, and his chefs cooked me a 12-course mealone afternoon in seattle. and first of all, ok,let me describe. he has a lab to do a lotof other things. the modernist cuisine isjust a small subset. you walk in. the place is huge. it must have 50 $1 millionmachines in there to do all sorts of weird things, like3d printers and stuff.

so the first thing i walk in isi see this big hd screen, and things are poppingon and off. and i say, what's that? he said, well, a few years ago,we decided to solve the problem of malaria. and one of the guys on the teamwas one of the guys who helped develop the star warsproject, which actually was pretty much a failure,as far as i can tell. and he said, well, i don'tknow, just get a

laser gun and zap them. and then the guy said to me,well, at first we thought that was foolish, comma. i said, what do youmean "at first"? it's like, what, it'snot foolish now? so he claims-- i didn't believe this-- heclaims that this thing was actually showing there'smosquitoes in a glass-- am i losing my voice here?

hello? there we are. he claims that he had this bigglass container, an aquarium of mosquitoes, and they couldsense the mosquitoes individually. that's what was showingup on the screen. then it gets weird. it says, they can tell thedifference between a male mosquito and a femalemosquito.

and i said, how doyou do that? he said, well, female mosquitoesbeat their wings at a different rpm thanmale mosquitoes. female mosquitoes bite,males don't. so i said, then what happens? he said, oh, then the laser gunmelts their wings and they fall down and die. i said, ok, so you're in africa,niger, and you have this $100,000 mosquitokilling laser gun.

now what are you going to do? well, we'd ring thevillage with them. i said, how about like, $1.00for a mosquito net? like, really? anyway, so i was going,like, really? so anyway, the meal wasfabulous, though. chris kimball: and there wereno mosquitoes anywhere. i mean, he's proven if you'reincredibly smart, and you have unlimited capital and time,what you can do to food.

it has no bearing on homecooking at all. but, i mean, for example,the pistachio gelato-- i love pistachio gelato. i've had it in a lot ofdifferent places. and most of the time, it'svanilla ice cream with green food coloring, essentially,because it doesn't taste like pistachio, right? so this pistachio gelatowas amazing. i mean, it's like, amazingpistachio flavor.

and he extracted oil,and guess what. each scoop, which is about thisbig, was $25 worth of pistachios to get one scoopof pistachio gelato. the other thing he showedme-- and they were great french fries-- but in order to get that crunchyoutside, he puts the french fries in water-- am i losing my voice again? i think you have to keep puttingquarters in the thing.

it's a cavitation device,essentially. sonic waves go through the waterand rough up the surface of the potato. and so, yeah, it didwork, but he's extracting maximum flavor. so the answer is, why not? good for him. he's an interesting guy. he's rich.

the food was great. but i don't think anybody hereis going to be making $25 a scoop pistachio ice creamanytime soon. although maybe some of thosetechniques end up in a home kitchen in 10 years. i don't know. but it's not what we do. what we do is, my premise hasbeen, most people most of the time don't have a lot ofsuccess in the kitchen.

it's not necessarily a failure,but it doesn't turn out exactly the way you want. if you were building airplanes,and 80% of the time, they fell out of thesky, you wouldn't be in business too long. recipes, if you think of it asa business, it's the only business in the world where youcan actually have a very high failure rate andstill be around. and so our thought was, we'renot trying to get you to

modernist cuisine orfrench laundry. we're just trying to get peopleto the point where most of the time they go inthe kitchen, if they do follow the recipe-- don't substitute shrimpfor chicken-- it'll turn out well. and that's all. we're not trying tocreate chefs. we're just trying to say, youcan be confident, go in the

kitchen, and get prettygood results. that's about it. audience: hi. for a variety of reasons, mygirlfriend and i only get to cook it once a week or so. do you have any advice forrewarding but efficient occasional cookingat small scale? chris kimball: yeah, the bestthing i can say is, 100 years ago, the italian grandmother hada very limited repertoire.

as i was taught tocook by a baker-- actually, a cook in vermont-- vermont! and i have a recipe card. she has about 50 recipe cards. so i think the secret has beenpeople had a limited repertoire of foods that werelocal with techniques that were all related, and that's whythey didn't need recipes. because your grandmother, ifshe cooked, or grandfather,

they had a baking powder biscuitrecipe, or they had a curry goat recipe. whatever it was, theyknew how to do it. so if you're going to start outin cooking, and you don't have a lot of time, mysuggestion is have 25 recipes. pick 25 recipes that cover abraise, or a tagine, or a stew, or a quick bread, a sodabread, whatever, and just get a range of recipes that covermost of the bases, and get to the point you don'tneed a recipe.

you can make them. then you can do anythingyou want. but if you do that, it's great,because the problem with all of you and the problemwith me is, on tuesday night i'm going oh, i love thatottolenghi recipe from "plenty" or "jerusalem." i wantto make that tonight with the gorgonzola and the lentilsand the caramelized onions. and the next night, i'll say,well, maybe i want something from south america,and then i--

well, you never get anywhere,because you're changing ingredients and techniques. so stick to 25 recipes. the example i liketo give is music. like most aging babyboomers, i have a grateful dead cover band. of course, that's typical. at some point, you all willhave grateful dead cover bands, or something.

aerosmith. i don't know, whatever. so if you've ever seen a50-year-old pick up a guitar, it's a disaster becausehe or she thinks they can just play it-- without "guitar hero--" playit, and they can't, because you actually have to knowsomething, like there are chords and scales, and there aretwo note chords, and three note chords, and the triads.

there's the blues scale, andthe pentatonic scale, blah, blah, blah. jerry garcia, my hero, he playedscales two hours a day. so there is something to know. and so by sticking to 25recipes, you'll actually get the technique down. you'll understand somethingabout cooking, and then you can do whatever youwant from there. i always work jerry garcia intoevery talk, by the way.

audience: question aboutyour turkey recipes. they typically deal withsmaller birds, or medium sized birds. do you have ideas on cookinglarger ones, particularly when you're cooking them upsidedown to start? is there a limit to how big abird you can cook that way? chris kimball: no. we usually like 14 to 16 poundbirds, because they, i think, usually taste better.

but you can get a 22 pounder. the question is, is youroven big enough? and then, of course, you havea bird that's very hot, and you have to flip it overafter an hour. if you do the butterflytechnique, however, you don't have to flip it. and if you braise it in parts,you don't have to flip it. but if you do the hour downand then up, you do. i just use kitchentowels to do it.

some of those orka siliconemitts and stuff, you ever try to use those? your hands get sweaty,and then you drop it anyway, so who cares? so i just use kitchentowels and flip it. my next question is about whenyou write up recipes. it's very clear from anybodywho's read "cook's" how much work you guys put intodeveloping your recipes and trying out every variation.

have you had a chance to dothat with how you actually write up the recipes to presentthe information and help understand what's thebest way to present it to people such that they'reable to follow it? chris kimball: oh, yes. yes. most of the stories, becausewe're dealing with cooks now, not writers-- most of the people who work forus don't have any writing

experience, and so the editingprocess is tortured. and we had made people cryafter reading the-- i used to read everything. i stopped about a year ago. i read it, but notat the beginning. and i used to put comments in. and my comments were usuallysomething like, this is the worst first paragraph i'veever read in my life. so what you get is, i remembermy mother, when she used to

make-- and i'd say, look. unless you can describe yourmother in some detail and paint a picture, nobody caresabout your mother. you have to make us care. so people take a long timeto get to a point. i think the issue is, i alwayssay it's like a sherlock holmes story. there's the one boot is missingin "the hound of the baskervilles," you know?

so when you're telling the storyof how you solved the problem of bad food to get togood food, it's a mystery. it's a narrative. you have to tell a story. a story has ups and downs,it has ins and outs, it has dead ends. so you have to constructthat story. the problem is the test cook hastested in a certain order, and he or she then thinks, it'sa documentary process of

documenting what they did. that has nothingto do with it. it's about creating a story. and so even though it doesn'tseem when you read it that we've done a lot of work, wespend some time, it's like 50 or 60 hours on the story, totell a story, because people have to care about the story. who wants to read 2,000 wordsabout fudgy brownies unless you kind of makeit interesting?

and so a lot of the testswe leave out. it's like editing ahollywood movie. you've got to cut charactersout and scenes. so it's all about storytellingand narrative. and then finally, we call itthe aha moment, when you finally, what's the big thingyou discovered that made the recipe work? and hopefully there's somethinginteresting. audience: when you were talkingabout cooking myths

and how they're not true, youmentioned searing the meat, which we've heard from haroldmcgee a couple times. but you also mentionedpatting the meat try before you sautee it. and i don't think you followedthrough on why that's a myth. chris kimball: well, what isaid was, it's not a myth. it's something that people tellyou to do, but people don't do it, because they don'tunderstand why they should do it.

and the reason is, as i said,if you put the meat in a pan and it's wet, until the waterturns to steam and evaporates, the surface temperature of themeat's not going to go over the boiling point of water. so all that energy's goinginto the water to turn it into steam. the energy is not goinginto the meat. so until that happens, you'resitting there in the pan with a fairly cool pan.

you're not getting any browning,you're not getting any maillard reaction. so that's one of those thingsyou need to do. what i've discovered is peoplewon't do what recipes tell you unless you understand it. and that was my problem, too. so we're just trying to explainin some cases not necessarily a myth, but we'retrying to explain why you should do it, and the odds ofyou doing it will be greater

if we explain it. audience: it's not because thewater will spatter in the oil and get you burned? chris kimball: that wouldbe true, too, and yes. and the other thing is that ifit's wet, the chicken skin will stick irretrievablyto the bottom of the skillet, yes. so among all of the home cooksthat you've interacted with and sampled, what's the singleway in which they've most

tragically underinvested intheir home equipment, whether it's getting something lame thatthey should get a good version of it? chris kimball: three things. the first is an instant readthermometer that really works. the only one we really loveis the thermapen. it's $95. it's obscenely expensive,but it really works. it takes a temperature from theend of the probe, not an

inch or two up, so you knowexactly what you're measuring. it has a big readout display. it's instant. i could cook without it,but it would be hard. i bake bread. american bread is 190 to 195,european bread 205 for custards, et cetera. two, a knife. forschner makes a victorinoxfibrox knife.

it's $25. it beats the $150 knivesall the time. third thing is knifesharpening. jacques pepin would die if isaid, go buy an electric knife sharpener, but go buy anelectric knife sharpener. the chef's choice model130, 140 works great. there's no other way to sharpena knife at home unless you really want to stand therefor 10 minutes with a sharpening stone, which you cando, but most people don't

have the patience for it. one last thing. the european knives have a20 degree angle to them. the combination east west kniveshave a 15 degree angle. so if you sharpen a $200 gyutoknife with a traditional electric sharpener, you'llruin the edge. so chef's choice did come outwith a model that'll do both, which is kind of important. the last thing i would saythat's really important is a

good 12-inch skillet,and you want-- all-clad still makesthe best skillet. i would invest in an all-clad. so those are the three or fourthings you definitely need. audience: thanks, that'sa great answer. so there are some times thati search for recipes on "america's test kitchen" andi'll get results from "cook's country," and realize that idon't have a membership there, and i didn't realize thatrecipe was part of it.

is there any work beingdone to sort of-- audience: --giveme the-- yeah. chris kimball: my head of itwho has a notebook and a pencil promises me by april. we're rebuilding all the infrastructure, all of our sites. the problem is that we havean outside vendor-- it's owned by hearst-- that handles all of oursubscriptions and processing.

and for us to do this entirelyon our own, without some of the things they offer,is almost impossible. so we've been waiting forthem to get up to speed. so we're right in the middleof the project. it should be done by may, atwhich point you can have access to everything. it'll be easier. because right now, if you goto three of our different sites, you have three differentpasswords, three

different credit cards. it's very complicated. audience: and then thelast one, sorry. is there going to be an app forthe android for "america's test kitchen," or anyof the others? i can't part say no. i wouldn't get outof here alive. audience: so america's changedsince you went to university. what have you learned fromoutside of america and brought

in from the scienceperspective? chris kimball: well, notso much from a science perspective, but i think what'sinteresting is there's been a restaurant revolutionin the last 30 years, obviously. and home cooking hasn'tchanged much, really. it's starting to, inthe last two years. nothing goes into our magazinesunless we survey it. we ask you what you want.

it's that old story. in 1985, i was owned in part by"the new yorker." and so i had an office at "thenew yorker's" building, and bill shawn-- william shawn was theeditor back then, as some of you may remember. and si newhouse took mr. shawnout for lunch at the four seasons and said, mr. shawn, howdo you determine what your readers want to read?

and mr. shawn said, i don't. and mr. newhouse said,what do you mean? and he said, well, i just putthings in the magazine that i want to read, and i assumemy readers have the same tastes i do. he was fired fourmonths later. and my answer to that is weonly put things in the magazine that you tell us youwant, because we don't take advertising.

so we found in the last twoyears that what you want is starting to change. that being said, i haveto say two things. the top 10 rated recipes of alltime out of 7,000 recipes we've rated-- we rateevery week-- two of them are greenbean casserole. chris kimball: somebody heremakes green bean casserole. statistically, ithas to be true. i don't know why, but they do.

and so what's starting to happennow is techniques-- not necessarily science,but techniques-- i mean, stir fry used to beethnic at one time, right? which is ridiculous,but it makes sense. small pieces of food cookreally quickly. it's very variable. it got incorporated into theamerican repertoire fast. now all the things coming fromdifferent parts of the world that do make sense for americanhome cooking, and

they are coming in. and i would think in the nextfive to eight years, you'll see a huge change in americanhome cooking. it's just starting, but ithasn't happened yet. people are still making thatdried out lasagna, but that's really changing. i would suggest that my favoritebook currently is ottolenghi's "plenty." i justgot "jeruslaem." i've tried a couple things.

i've cooked about half of therecipes in that, because, you know, the ottoman empire wasin the spice trade, on the spice routes. they had 85 to 90 differentspices. northern europe hada dozen spices. "the joy of cooking" originallyhad 15 spices. so there are ways of combiningflavors, there are techniques that we have never used here,because we're mostly northern european style cooking,mostly.

and there's a lot that'sgoing to come in. so i think it's going to changecompletely, and i think people's experiencewith food through restaurants has also changed. they know what saagpaneer is now. i still don't want to make it athome, but many people in my kitchen do. but no, it's going to change. audience: so at the beginningof your articles, you have

this description of whatyou're going for. we want a tender crustor whatever. so where does that preferencecome from? chris kimball: well, thequestion is, we have to pick a lane for a story. and so we survey and askwhat people want. but at some point, it dependson what we've done before. we have to come to it with adifferent point of view. but you can do chewy chocolatechip cookies, or you can do

crispy chocolate chip cookies,and one's not better than the other. so it's mostly what you say, andit's also our tastes, and whether we think we canadd some value, because it's a new direction. it's something different. sometimes we'll go back and doa story we did 10 years ago, because we found out actuallyit's not as good as it should be, like pumpkin pie,or creme brulee.

but it's mostly just a functionof listening to what you guys want. audience: ok, sorry, one more,since i'm a new cook. so the trouble i always haveis doubling recipes. i always assume that if i needto double it for whatever reason, like a sauce orwhatever, that i literally double every single ingredienti see, which, yeah, ok. so are there certain things,or a key, or something you should use like never doubleyour flour, or only do that

amount and a quarteror something? chris kimball: savoryversus baking. savory, a few thingsto watch out for. don't double the heator the spices. chris kimball: becauseyou hold off and then taste as you go. but that's really a problem. secondly, liquid. sometimes in a stew, if you'regoing to triple a stew, you

don't need triple the liquid. so that's something youshould look at. the other thing is in baking,as you double a recipe, then the pan size doesn'tnecessarily-- you need a different pan size. and you may end up with athicker, or more depth to the cake, or whatever you're doing,so the cooking time's going to be off. if you're going to createsomething bigger, you tend to

lower the oven temperature by25 degrees, so it's going to have to cook a littlelonger, so you don't overcook the outside. in general, baking is tough. and also, when you mix thingstogether, like you're creaming butter or mixing thingstogether, if you quadruple a recipe, when you mix it, you'regoing to over mix it to get everything mixed together. for example, when you makebrownies, it always says, or

should say, streaks of flourleft in the batter? well, i know what you do,because i do the same thing. i'm going like, hey, thereare still streaks of flour in the batter. this can't be right. so you keep goinga couple more. well, what happens is youdevelop gluten as a result. the brownies rise a little bitmore, because there's more structure, but theyturn out cakey.

not that good. so when you have double therecipe or quadruple the recipe, you end up mixing more,there's more agitation, and you end up-- so very often in the testkitchen, we'll just maybe double it, maybe not, and justmake more than one batch. but baking is particularlydifficult. audience: so what aboutcider-braised pork steaks, like a recipe like that?

chris kimball: that'snot a problem. audience: you can double that? audience: in the magazine wherethe people write in with questions, there was oncea question about using california bay laurel leavesinstead of [inaudible]. chris kimball: ohyeah, turkish. audience: yeah. and the answer was that itwasn't worth the price to use california.

but the thing is that we'rehere in california. a lot of people have thosetrees in their yard, so it's free. and so i was wondering, canyou use the bay that grows around here, and do you use adifferent amount, or is it just one for-- chris kimball: i do rememberthat letter. it was a few years ago. i think we decided that wepreferred, actually, the

california, i think. but yeah, sure. you can use them. i mean, my pet peeve is-- andi argue this all the time-- you know recipes, you're doinga stew for 12 people, and it says add a sprig of thyme? are you kidding me? i mean, i don't know, maybe thefrench had particularly pungent thyme.

but i mean, a sprig of thymeisn't going to do anything. you're never going toknow it's there. and sometimes i feel the sameway about bay leaves-- i always add an extra one. so yeah, you can use it, sure. but i think one thing i'velearned is, also, towards the end of cooking, i mean, unlessit's baking, but if it's a stew, a soup, or whatever,taste it. people just assume--

my 22-year-old loves to cook-- and she'll just follow therecipe and won't taste it and serve it. and, you know, it needs salt,it needs something else, a little vinegar. but at the end of cooking, freshherbs are best added at the end, grated or mincedginger, garlic. there's lots of little thingsyou can add at the end of cooking-- vinegar,lemon juice--

to get the balance right. and so that's the most importantpart of cooking, other than cleaning up, isthe last five minutes. and adding those thingsat the end. and there's also secretingredients. years ago, someone in my officementioned pomegranate molasses, and i made fun ofthem, because it's a stupid hard to find ingredient. now it's not hard to find.

that's one of the things i haveat my disposal when i'm cooking, just to getthe balance right. it's a little sweet,a little sour. so it's that last minute that'sreally important. audience: so you mentioned aboutthinking that there's new spices, and that kindof thing, maybe some new techniques coming fromaround the world. what about just new approaches,and i guess more technology in the kitchen?

chris kimball: well,sure, yes. we're doing a pressure cookerbook right now. that's actually going to behuge, because it's fast. it's not a slow cooker,it's a fast cooker. you can make the world's bestchicken stock in 15 minutes. you can make risottoin 15 minutes. and also, a pressure cookerturns out great food. so that's going to be big. everyone's talkingabout sous-vide.

audience: that's gettingto be affordable now. chris kimball: there's a $450one we liked, which is-- i mean, the problem with thatis, money is one issue, but then what do you do with it? i'm sorry, i've gotten down tosmall things now, because these big things, you'vegot to take it out. but yeah, sous-vide is fine. although, i have to say, theproblem with sous-vide for me is i like to chew my food.

and i find, like, if you'veever had a turkey sandwich made with sous-vide turkey,it feels kind of wet. and so as a friend of minesaid about turkey at thanksgiving, he says he likesovercooked white meat, because that's the traditionat his house. and he said that's whygod invented gravy. chris kimball: well, who wantsgravy and a particularly moist piece of white meat? it doesn't work.

so i don't know. yeah, it's a great way ofcooking, but i don't think that's going to be ineverybody's kitchen. but i think the pressure cookeris probably one of those things that will be. so thank you very much.

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